Speaker 1: Hello everybody, and welcome to That's Non Mettal, your weekly rock,
heavy metal, hardcore punk music podcast. We are back this
week with a hyperblass edition of news shows, letting you
know everything's gone on in the past week or so,
and today is a bit of a kind of a
catch up, gangs back together kind of moment. I feel
like we've all got, you know, some things to report on,
I guess from the last little while. So with me,
my name is Baran Haish. With me, we've got Mark
Sanders and Nello Mark, what the fuck is this not
talk to I believe it or not? No, And we
also have Sam Dignon, who had returned from the other
side of the world.
Speaker 2: Yeah, back from Japan. I was a busy two weeks
so I was off seeing Japan, going on this dream
holiday when it's gone for years. But yeah, I'm back.
Speaker 1: Yeah, so backer than ever, Absolutely backer than ever. Obviously.
Last week myself and Elliott handled the reviews and we
talk about a whole bunch of a new records that
came out towards kind of the end of September, from
you know, unto others, the Black Dahlia Murder, Harriet All sorts.
Speaker 2: Of good albums. I was gind have missed some of
those reviews really, like Harriet like until I was Black
Darling in particular ones. I was like, I've got opinions
on those albums, but yeah, good albums.
Speaker 1: Do you mean you weren't really really stoked to be
talking about vended.
Speaker 2: I don't want to, like, I don't want to show
on them because they are a bad.
Speaker 1: Who make me feel absolutely it's not bad. It's fine anyway, Sam.
Obviously you were in Japan, I guess, and I know
that you went to like, you know, a couple of
shows and stuff while you're out there, and I guess
that's kind of interesting, you know, even beyond the bands
that you saw, just kind of from a cultural standpoint,
What was it like going to, like, you know, a
hardcore show over there? But before we get onto you know,
those specifics, did you have just any general cool like
TNM relevant experiences or discoveries while you were over there.
I'm not talking about dand and all that shit.
Speaker 2: But but like I always say, recommended by a friend
of the podcast, Ryan the God's Bar in Shinjuku, which
is just this like really cool grebow like metal bar
like dingy basement bars, the Coolest Vibe. Had a great
time that And there was another one went to which
are Commember, the name of which was more of like
a like punk worn. It was a dorm like Rancid
and Misfit posters. They let me request Brough Springsteen. I
was having the time of my life. There loads of
really cool record stores. There's just one Nerds Records, which
is kind of linked to one of the gigs I
went to, well the main Gil went to, but that's
like a really cool hardcore record Obviously. Tower Records is
like seven floors of all kinds of music, and they've
got like a great sort of met on punk selection.
But yeah, like did a lot of that, you know,
and just kind of had an amazing time kind of
about Tokyo.
Speaker 1: Yeah, did you listen to any of what was your
Japan listening?
Speaker 2: Like, I mean, I listened to some of the albums
that we're kind of going to lead onto things that
we're going on to ours enjoying a bit of winter Sun,
you know.
Speaker 1: Over time.
Speaker 2: Two albums were like very felt very like appropriate fresh
When I was going up into the mountains in like
the countryside and it was so scenic fan and when
we'll get like that tough like that, like time to
those instrumental intro tracks, was like, this is what I
should be listening to as I'm heading up there, I think,
just you know, I just I didn't listen to those music,
so I was kind of just always busy doing stuff,
but it was it was cool.
Speaker 1: Yeah, So tell us about the bands you went to
go see when you were in Japan. Was what was
the vibe like going to you know that show?
Speaker 2: I mean before we got to we did have the
amazing accidental first night thing of after going to God's
this bar and there's a little like they have a
venue next door to it, and when were like our
first so we're still kind of jet and we've had
civil trips. One next door to see a random local
Japanese band. I couldn't hear their name anything, and they
were like, does here like email? And I was like yeah,
and they started playing the Black Parade and I was like,
this is the best thing that's happened. We've landed in Japan,
never been here a day. And then watching some local
band cover the Black Parade and then cover Faint by
Lincoln Park. That was amazing. Oh yeah, the actual gig
games up going to was only going to see No
Pressure and Regulate. So annoyingly, there was a massive hardcore
festival the day we were flying out in Tokyo, like
headlined by Comeback Kid. It's the close thing to like
Japan's Outbreak essentially like big old room, no barrier stage.
They getting all these like mix of like touring bands
along with local hardcore bands. I think they had like
I think Mind Force might be part of it, and like,
like I say, No Pressure and Regulate were part of
this package. And then after it they announced all these
sort of side shots who were like, well, you know
we've missed the big hardcore them, but let's get to
one of these sort of side shows. And like I
I've quite like No Pressure and I really regular and
I've never got to see them, so I was like,
this would be a cool one. And also it'd be
cool to see Japanese hardcore, which was what the free
one pop punk band and two Harker bands are the openers.
So it was one of those was like, let's go
see what a Japanese hargo show is like. And I
mean firstly, like Japanese harkle crowds. They go insanely hard
whilst being insanely polite about it. It's really funny like
they all like go so hard they'll be like flinging
their bodies off stage like they their lives didn't pin,
like they don't care about injury. But then they'll also
be like, oh, you know, if they hit you, they're sorry,
and it's like yeah, cool, good vibes. So first up
was this Japanese pop punk band called Castaway who actually
look again like my feelings were pop punk are you
know it up and down? But they were like decent
for a kind of like small Tokyo pop punk band,
like good sense of melody. They they kind of had
like big melodic lead guitar parts and stuff like that,
and it wasn't like the kind of like dingy rubbish
pop punk that we all kind of like turn our
nose and go like, oh, overproduced nonsense. They they clearly
understand that like melody and sort of stuff like that
is a big part of it. They were pretty good,
and there seem to be a bit like an easy
core thing going on in Japan because they had that
kind of easycore breakdown moments in there as well. They
were good fun and again they were first on at
like six in the sixth evening and the route that
was like a crowd there for them, and they had
fans going hard, and I was like, man, opening bands
in here, don't get that, Like if you want at
six am six pm over here, that was gonna fucking
go hard for you, like if you're especially for a
pop punk. Man. It was cool. Mixed up was this
band Truth by who they are like pure like hardcore.
They're almost like the most like stereotical modern hardcore band
on the lineup, because like lots of comeback kid, lots
of bits like Terror, all kind of just amalgamates of
all these kind of like US hardcore bands just kind
of field for eachpan. But they like really short songs,
you know, rarely going over two minutes, all attack, all energy.
I was like, you know what, I'm moshing for this.
I'm getting in there swinging the fist around and having
a good time. But they were they were cool, like
just really high energy and again the crowd going off
for them. Of the Japanese sort of harker bands, one
who really sort of captured me. I mentioned them before
I went who had been listened to is this band
blow your Brains out there? They like just a really
hard band like vocally is like massive, like which is
again in Japan is kind of like startling because what
we learned is like trance not built. People are six
foot tall, like anyone else going to is like this
is great. I'm seeing over everyone at these gigs and
women like this land and stuff like that. But then
I'm banging my head on like every other door frame.
But like the vocals to blow friends like he is huge,
and I was like he just looks like a mean guy.
And they were like they had a little bit of
the kind of like crusty a side to them at times.
They were just like nasty violent hardcore punk. They have
an album out it was like out late last year.
I think I've been listening to a load really cool,
Like again, nothing is gonna like revolutionized hardcle. But if
you want just like nasty, violent hardcore music, I would
really recommend Given your Brains out go. And it was
kind of goes like I'm seeing thisse like Japanese talkabhan,
like no one's going and nobody I bought I might
be the only person and you got this like t
show of theirs now because I was like, they were
just really cool, and I was like, honestly might be
my favorite band of the whole thing, because I was
just like, yeah, this is just what I love about hardcore.
Speaker 1: Yeah, and then the other bands. You can see those
bands over here, but like, was it fun seeing them
in that kind of environment?
Speaker 2: I mean, regulate, I don't think they've ever taught the UK.
I could be wrong, but I definitely haven't taught it
for a good while. They're kind of like New York
melodic hardcore, straight edge. They are really cool. They've got
like occasions, they're like a lot of it's kind of
like sort straight down the hrgle, but they've kind of
followed in the vein of like your Turnstiles of like
bringing in a bit more pop in there, a bit
more like kind of like at rock influences. Whether for
one song they will go almost like almost like Cohen
and Camera at their poppyist is not one of their
songs kind of has that kind of thing to it,
whether they'll do a little pivot stat but for the
most part, it's just you know, big bouncy hardcore and
then no pressure is Parker Cannon having fun And that's
always just kind of like a nice thing to see.
Is this. He's definitely come out of his shell a
lot more over the years. But no pressure just seems
to be him having a good time. And I mean again,
like they're not really hard about that. Actually know ninety
skate punk is no pressure, but I'm down for that.
And again, room was absolutely round from there on, and
the crowd just did not stop throwing themselves around the
entire time. I don't have ever seen a band like
I said, the crowd will really polite. I don't think
I've ever seen a band be so like mercilessly bullied
into doing an encore like they know what they wouldn't
leave like they were just like they finished the said
they were like well done, and it was like, you know,
forty minute half or set great and then going like
no play another song? They just would have stopped out
and there they were like we rehearsed another song, and
so you can kind of just see them like frantically
and slightly sloppily playing through one more song. They thought
we can just about get through this. But yeah, just
like going to a hard and show in another country, Like,
that's not a festival, it's just a really cool vibe anti.
It's eventually called the antinok because you're like the close
thing you'd get to, like the underworld in Shinjuku, like
just a dingy basement. Then you like the tour post
around these sorts of looking the bands you've played there,
and it's god of Like, man, some of these tours
have been through here. That must have been like really cool.
But yeah, like it was just like I love hardcore,
it was really cool to you know, go and experience
it in a different setting.
Speaker 1: Yeah, I mean that sounds like something that you know,
if anyone gets the opportunity to do that, you know,
not even just in Japan, but like you know, in anyway. Yeah, yeah,
anyway shows you something different and check out a local
scene and stuff like that, like exactly while you were
away again, we had the full review show last week,
and I wasn't talking about like, you know, shows and
that kind of thing. I have kind of chucked up
a few kind of nights of note as well, because
as quick as I can, I guess I'll kind of
work backwards through them. Because the earliest one I went
to will lead into our first major news story here.
But it has been a good time for you know
tours over here, my goodness, because I have seen some
sensational sets in the last couple of weeks. I want
to start by shouting out Orange Goblin, who I went
to see a couple of nights ago. Amusingly the larger
venue right opposite on the street Jet were playing, and
Orange Goblin, I can assure you, was better than a
monkey peeing into its own mouth. Not only that, but
Conan too as support, who I've said many times on
this show, one of the heaviest bands in the world,
and every time you see them they cave your bones
into dust. John Davis, not that one, but you know,
one of the masters of the minimalist heavy riff, like
two all three notes that will compel you to bang
your head, their wonderful assembly of kind of obscure eighties
animated fantasy movie clips behind them, just like all fucking
wizard barbarian shit, and then Johnny King on drums like
an actual barbarian. That would be enough. But Orange Goblin
are on really good form if you catch them at
the moment, because the album they're promoting right now is
super strong. I don't know if they actually this is
actually intentional or not, but to me it almost seemed
to play up the fact that they were doing in
October tour at the start, because they had this like
halloweeny green lighting, like lighting up their big Orange Goblin
name at the back, and then they came out and
open with Cemetery Rats, which is this like outrageous ripper,
kind of like horror punk metal tune of their new record,
really good, and then straight into Scorpionica, which has one
of the greatest stone of rock riffs, just a proper
like rip through the catalog, quite a few deeper cuts
actually instead of you know, something obvious ones. But they're
just I was really infectious band, like proper dedicated rock guys,
so clearly enjoying themselves. Masters of the Black Sabber. Second
half of a song, they're grooving part ben a front
man that you definitely don't have to worry about not
being able to see if you're short and standing at
the back, because very very very large man. And when
we talk about individual brilliance as well, like Orange Goblin
are like low key one of those bands where every
member is at it. Like when we talk about the
greatest desert rock riffers. We should be talking about Joe
from Orange Goblin. When we talk about the great kind
of hard rock groovesmen with you know, unconventional and creative parts,
we should mention Chris Turner the best voices in that style.
Ben Ward like, they definitely should be playing the bigger
shows than than Jet. The week before that, I mentioned
last week I've been seeing the big Cannibal Corpse tour
which came through.
Speaker 2: Annoyed that happens go right as I was going to Japan.
I was like, God, damn it.
Speaker 1: Yeah, something of a religious event around these parts whenever
Cannical Corps do their big tour and package. I don't
think there's maybe much surprise in me telling you that
that bill top to bottom was just predictably brilliant, you know,
wady municipal waste. Do they fuck you up? You know,
even on a bill where they were like the outlier
band in terms of heaviness, people just obviously were like,
well in for it. Immolation have become one of my
very favorites of the old guard death metal bands to
see live because they are so fucking heavy, just like
so absolutely demolishingly brutal and unforgiving. I was really happy
to get another chance to see them because they maybe
don't pop up here so often as like a Cannibal
Corpse or like an Obituary or someone, particularly on their
latest album as well, which I still think is outstanding,
and in terms of like all of those like older
death metal bands, I think they are currently touring the
best record and the one before that is killer as well,
just like the most demented, aggressively unfriendly riffs throughout their set,
and Cannibal Corps has only actually been about eighteen months
since the tour supporting Violence I imagined over here because
of COVID kind of staggering everything all now, which again
I was really glad I got to see like that
tour because this time they were only down to inhumane
harvest being in the set here from that but like
just always the most confoundingly incredible live band in death metal.
It was actually like the day immediately before Eric Rutan
had to fly home to deal with his house being
destroyed by the hurricane over there, so best of blood
to him. But man, while he was there, they were ripping.
If you were a big you know, Chao's Horrific Fan.
The recent record, they had the title track and Summon
for Sacrifice in the set No Fucking More An opening
with blood Blind, which was the lead single from it,
and then into Scourge of Iron from that, and like,
I would imagine that will reclaim its spot as opener
sooner rather than later, because like that that's the one,
that's how you do it. But you know, for a change,
blood Blind in that spot brutally heavy of course, grind was.
There's that really cool part in that song where he
goes like subdue Gate, subdue Gate, subdue Gate, but he
kind of brings his microphone closer to his mouth with
each one, which I've and it's a weird trick I've
never seen him do before. But at critics his cool
effects in the song. One of those shows where they
played like, you know, a whole bunch of the canical
cop songs that they will always play, and I was thinking, like, yeah, cool,
these are all standards, I know, all these maybe not
the most surprises, and at the end I realized there
actually had been. There's a few shakeups in there. Staring
through the Eyes of the Dead was the one that
I popped for because I don't think no if I've
seen them do that before, and I get for whatever
reason again the songs that they'd left out A Viscerration
Plague stuck in my head during the show as like
the big one that they hadn't got around to actually
play in. And I turned to my friend at the
end of the show and I was like, yeah, no,
is Vistressian Plague tonight and he went yeah, no, I
come Blood, And it dawned on me. I was like,
you're right, they didn't play the jump Blood and then
thinking further, no skullfull of Maggots, No devoured by vermin.
They played death Walking Terror in like the kill slot,
but no make them suffer, So you know, maybe go
like you do. Got to appreciate every Cannical Corps song
when you see them, because there won't be too many
guarantees beyond a particularly rowdy version of Hammers smash Face
at the end. I must say amazing to see a
death metal show in a venue as large as you know,
the Victoria Warehouse in Manchester, that's where like Trivium and
Gajira and machine Head play. It was quite surreal to
be seeing a full blown extreme metal tour and like
sold out as well. Fucking yeah, really awesome. The show
I have to report on that's maybe the most out
of the ordinary is I actually I got a ticket
to see Frank Carter fronting the sex Pistols when they
expanded that show to like a full blown national tour
on like a fairly short notice, Like you know, they
announced it like a week after they did that first one,
and the tickets immediately went on sale whatever, and I
was like, I'm gonna go for her, gonna do it,
and this was sensational. Well, like we we never really
talk about the sex Pittals on this show, shockingly considering
they are like arguably the most significant band in the
history of punk, turning into like a mainstream cultural force,
like globally recognized around the world, you know, reimmersing myself
back into like the history of the sex Pistols. Going
into this, I was like, man, like, I know there
are some reasons why, you know, certain T and M hosts,
and maybe the audience might not be referencing the sex
Pistols like all the time and viewing it as like
super us, but like the history of this is fucking
like beyond or anything else. Like that would be like
what a goliath of an album club that would have
to turn out to be. You know, but I am
an enjoyer of you know, the sex Pistol's music. They
were probably you know, past like Green Day or someone
like the first kind of older punk band who I
you know, heard of and and got into. You're the same,
right Mark, Oh.
Speaker 2: Yeah, A big fan like I.
Speaker 3: I bought never Mind the Bollocks when I was like twelve,
I you know, you know, Cosplay punk holders shit. People
say those songs are just bangers.
Speaker 1: Yeah, I think I gain this would stray into that
like that whole mega album club territory. But I think
the history of it is very like it's it's not
black or white either way, Like it's not cutting dry
are one thing or another. It's a whole insane cultural
miasma of things going on. But you know, like I
don't listen to the Megarot in these days. But I
had just never ever considered that I would have the
possibility of seeing those songs live until we got you know,
Rick Astley sings the Smiths for balding men in torn
up union jackshirts like and genuinely this was like so
great as like a you know, a reawakening in me
of like oh shit, yeah, the sex pistols and with
you know, the superior ginger on vocals. The thing getting
in the way of the sex pistols these days, you
know it is Leiden. And if you want to like
you know, swap someone in, obviously you know it's not
really the sex pistles in the same way. But if
you want to swap someone in to just inject some
like physical energy back into those tracks, your dream scenario
is Frank Carr, Like I wouldn't want to see this
show with anyone else but Frank Carter really and you know,
true to form, You've got like you know, the three
old Hands, the actual sex pistol at the back, just
really holding it down playing those songs. Well, Frank spends
most of it in the crowd, on the crowd, on
the sound desk, like wherever. There's a really funny moment
when one song ends and Frank is just like lost
in the pit somewhere and Steve Jones starts calling out
for him, like Frankie, where are you are you staying
out there for the next one? And Frank's like it,
what's the next one no feelings, Oh definitely, it just
goes right back in. It was like proper like chemistry
between them where you could tell they actually like each
other and like hanging out with each other, which is
why this thing is you know occurring and you know,
inciting these huge sing alongs for songs. Obviously everybody there
has like culturally ingrained into their DNA. They obviously they
played the whole of never Mind the Bollocks, not in order,
but they did open with Holidays in the Sun, which
was so fucking good. Throwing a few more kind of
like you know, deeper cut b side non album type
sex pistol songs as well, Silly Thing was fucking great.
Digging out the old Stooges cover that they used to
do No Fun really really fucking cool. They roped God
Save the Queen, just in the fucking middle somewhere like
no fanfare at all, just turn. It's like, oh fucking hell,
and it was the most alive those songs have sounded
in years. And Frank, as you know, obviously the front
man and the band, the mouthpiece of the band, but
also recognizing the fact that he is kind of you know,
the outside and not actually a part of that legacy
in the same way he kind of still on the
side at one point and Jester to the other guys
and was like, you know, give it up for the
greatest punk band of all time. It's like, I literally
think that Frank himself was in one that is better.
But yeah, in terms of like, you know, the occasion
and the cultural specter that they cast and everything, it
was like, damn, yeah, like this is awesome and you
getting to like stand there and say that is awesome.
It was. Honestly, it was so good something that I assumed,
would you know, that would be my one time to
kind of catch it. Maybe it could well turn out
to me. I don't know, but you know, if it
does pop up again anywhere and you're wondering if it's
like worth seeing, the answer I would give is if
you like those songs, definitely. And this brings us to
the quite surprising news this week that Frank Carter and
the Rattlesnakes have announced that they are going to be
going on hiatus immediately following their upcoming you know, European
tour that they are doing. And then again there's a
little statement that's been put out on their Instagram, which
is kind of the usual, you know, thank everyone for
being with us and supporting us and enjoying all these
years of albums and shows and all that kind of stuff.
But I have to say I'm certainly even though again
we might have a conversation here about where the Rattlesnakes
have been, where they've been on the up, on the down, whatever,
but I am taken aback by the news that the
Rattlesnakes are going to be at least again. We don't
know if this is a temporary hates or what, but
at least for now calling it a day. So what
do you guys think?
Speaker 2: I mean? For me, it was like, this is the
longest a single Frank Car project has kind of run
in its day. Yeah, it almost like where he's like,
this is it now, this is what Frank cart and
this is him now until he's done with music. I
was kind of kind of like, obviously the two major
points for that, Pure Love and Gallows, they were not
like long like Gallows was went for a couple of years.
Pure Love was pretty one and done. So when Rattle states,
as in George, as long as it has nearly ten years,
I thought this might be, you know, kind of like
his sort of thing. So I was I was surprised
to see that they were calling again, and my immediate
thing and I don't think this will happen, but joking
was kind of like, oh, we're getting the sex Pistols album.
But uh, yeah, it's just it was kind of an
odd one. Yeah.
Speaker 3: I feel like the Rattlesnakes in general are so interesting
to sort of dissect and think about because the last
record came out, I had no idea there even was
a new Rattle Snakes album coming out until like two
days after it did come out, because they've just sort
of evolved to be in a completely different world from
where I live. So I just sort of assumed, well,
they must be doing well over there because I remember
putting the album on and recognizing, oh, I've heard a
couple of these songs on the radio.
Speaker 1: Yeah, so what I assume that.
Speaker 3: They were, like, you know, thriving in another area, and
this news is very interesting. I have like, is Frank
gonna do something else musical? Like what's going to happen?
Speaker 1: Yeah, I mean, certainly to go to what Sam was saying,
I agree. I felt that, you know, the Rattlesnakes. It
certainly felt that Frank had found a home. You know,
obviously his name is the start of the bad I know,
like him and him and Dean were the main you know,
they think they thank the other members of the Rattlesnakes,
but they it clearly it's if the Rattlesnakes a going hiatus,
it's because Frank, Carter and Dean you know, don't aren't
interested in currently you know, going forward with working together
in some capacity, because those are you know, the driving
forces that founded that band. But it certainly felt like,
I think a long term kind of home for Frank
that was able to evolve musically as well. It's not
like Gallows, where he felt he was kind of stuck
into a certain you know, angry visceral mode or whatever.
The rat Snakes from, you know, blossom through to that.
Their u S record covered a lot of ground and
have a lot of shades emotionally to them. So you
felt like kind of whatever he wanted to do within reason,
you could probably do within the rattles Snakes.
Speaker 2: Yeah, exactly, That's why I thought it. Each album has
its own character. Again, like you can say which album
you prefer, you know which year the routes action like
the most, but because of like always kind of just
being like whatever Frank was filling at the time was
what the Route six could morph into, it felt like
he could have that longevity with it.
Speaker 1: Yeah, and we were joking a bit that when UNI
at six and still their support bands and inexplicably there's
someone on there called Heights using a very similar logo
to the Dean's old banded Heights, because Dean's reviving Heights.
I don't think that's the case of what's happening here.
But yeah, we don't have a reason given for this,
which is I guess the immediate thing, like we don't
know whether it is again maybe a schism between Frank
and Dean, a you know, just a let's kind of
call it there. We don't know if Dean's the initiator,
we don't know if Frank is. As some people immediately
jump to receiving a call from somewhere larger, that would
maybe necessitate the retel's next being put on hold for
a while because of those reasons. Jumping to some of
those conclusions, which we can discuss in just a moment,
seems a bit extreme, but we don't have the reasoning
right now, which makes it harder to go out. Yeah,
but like on the let's say what you were saying
mark the kind of success Francho, you know, you assume
they were doing well. I think they were mostly because
again I'm looking at their their upcoming UK tour they're
doing before gun hiatus. It's only actually a Brighton and
a London date, and the London date is at the
Electric Ballroom, which is much smaller than I imagine the
Rats Necks to be. But looking back, I think it's
just an intentionally smaller show because they did for the
earlier exactly the Dark Rainbow tour. At the start this
year they played the Roundhouse, which is again the kind
of size that I would expect the routs Necks to
be doing. So I don't think you could say there
was a clear downturn in terms of interest or ticket sales,
at least within the demographics that he was kind of
mostly appealing to. I think we have discussed, you know,
we discussed when that album came out at the start
this year that it does feel like, certainly since around
the third album, the Rattlesnakes have drifted away from like
you know, let's describe the kind of core TNM demographic
of like slightly hard and heavier stuff. The rat Snacks
haven't been like super on our radar for the last
like couple of years, but I also thought that they
were doing you know, they must have a clear, you know,
audience somewhere that was doing well. Yeah.
Speaker 3: I think if the split is like something musical would
be insane to me because like, what would Frank want
to do that he couldn't do in the Rattle Snakes,
because he's, like you say, every album sounds different, has
this on vibe. He surely just did whatever he wanted
to do in the Rattle Snakes anyway, So if it
does come to light there was like musical differences, I'd
be really interested to see what happens next, really, because yeah,
the Rattle Snakes always felt like sort of Frank's playground
to try whatever he wanted exactly that.
Speaker 1: Yeah, and I guess, you know, if we look to
some of the other kind of you know, the if
we assemble our lineup of potential outcomes here. Firstly, we
have the sex pistols, which would I be surprised if
there were some more sex pistol shows, maybe playing certain festival,
but turn the about Glastonbury or something. I certainly wouldn't
say it's out with the question if they announced that,
you wouldn't be like, oh my god, I can't believe
they're doing more. So I could see that happening for sure.
Do I think Frank Carter is going to become the
full time frontman or a like fully active again sex
Pistols or maybe again just those three guys with a
new band under a different name or whatever. I would
be very surprised. I would certainly be very surprised to
see Frank drop the band that he's built for ten
years and is primarily his own kind of creative entity,
to be the you know, the Miles Kennedy to sex
Pistols slash.
Speaker 3: You know, yeah, I just can't see that. I can
see them, you know, doing some US dates, doing Riyot first. However,
an actual sex Pistols album.
Speaker 1: That's they've probably got one album already, like you can't
do now.
Speaker 2: No, I don't think that was happening. That was like
gonna joking, O what's going on?
Speaker 1: But a lot of people will go, oh my god,
the Rattles thanks have like you know, broken up the
moment he starts singing for the sex Pistols. Maybe he's
received a massive financial offer or something, and maybe he
would I don't know. But like I said, in terms
of a long term scenario, would you drop your own
pretty viable band for a temporary thing of singing for
a bunch of really old guys, I would.
Speaker 2: Say, So it's not you know, they're not officially broken up.
Speaker 3: But yeah, you know what I mean, as it is
length hiatus.
Speaker 1: Yeah, so there we go to the other options. I mean,
I don't even want to say fucking pure love because
that would be pure love and not coming back. That'd
be fucking demented. But obviously, you know, particularly around these parts,
we have a few people going, oh my god, could
it be a Gallows reunion? Which I think I think
it's probably safe to say. I think that the Wide
Fronted Gallows has kind of run its course at this stage,
particularly now that alexis on fire, are back and making
albums and actively touring all over the world and everything.
As much as like I would love for that version
of that band to continue on and give us more stuff,
I have a feeling that that is done and Wade
is not currently the singer in Gallows anymore, but you know,
everyone jumping to the Frank Carter in Gallows thing. Maybe
again in the same way as like maybe the sets
will have more more show slided up a less likely scenario,
but maybe one day, as is always rumored, we could
get a reunion show. Because it's not one of those
cases like you know where they're on bad terms, like
Frank Carter if you follow them on it's Gramm or whatever,
like you know, Frank and Lags and everyone there. You know,
they're friends, and they they were going.
Speaker 2: To like they were going to the Route State shows
and always big enough Frank shows. Yeah, there's been good
positive sort of feelings between them, particularly the last couple
of years.
Speaker 1: Like, yeah, so could I see those guys getting on
stage together every now and then? You know, I'm not like,
you know, waiting around for it, But I don't think
it's out of the realm's possibility. Do I see Frank
Carter again dropping the very successful probably in the long term,
so a lot more tickets than Gallows to go back
to the thing he initially tried to escape essentially, No,
I don't think that's happening either.
Speaker 2: No, I mean, I like, I say, I've seen the
Frank Carter's rejoining Gallows rumor like every year since about
twenty seventeen twenty eighteen. It is like one of those
things like someone else is like, what's happening this year,
Like that they're in talks and like is it though,
because this has just been an endless sort of roomor cycle,
And again, like I would lose my mind at the
possibility of Frank rejoining Gallows and getting to see those
like Great Britains, one my favorite albums of all time.
Again see those songs performed by Frank would be like,
holy shit, this is it. But again, is he going
to drop the rottle sex for I don't think so
because again, what like outside of that initial big pop
for Frank rejoining Gallows, because we're discussing the discord, what's
the kind of like actual live drug gads And I
was like I was, I think initially it would be huge,
like within hardcore circles, it would be something bigger hard
cushes you'd see, but you would see immediate diminishing fills
like you have with every kind of like shot for
Union Leagy talk about like when Refuse come back you know,
that was a big deal and then just every time
it was smaller and smaller and smaller. I feel like
it would be the same thing with Frank Reinen joining Gallows.
So again, is that a long term sort of smart move?
Then keeping the Routs that's going through again like certainly
not as big as they are, you know, like I
think on them it was on the end of suffering
now at their peak doing like Alexander selling out Alexandra Palace,
and now they're kind of you know, selling out larger
size venues like the Roundhouse still, but that feels to
me like a sort of a steadier thing than the
kind of like big Bim Gallows that would just kind
of burn out quicker.
Speaker 3: So yeah, I can't see this.
Speaker 1: Yeah, And again even in terms of okay, what's our
other option? Then, does Frank come back with like another
new band, you know, Frank Carter and the King Cobras
or something. I in a weird way, that also feels
like almost like why, you know, like you've got the Rattlesnakes,
Like why.
Speaker 2: They didn't have a set identity they had to fulfill
the rattle sake they could.
Speaker 1: Say, Yeah, the only scenario that I think I could
see you know, uh, Frank coming back at least in
the immediate term, like let's say with the next year
or two with like another musical project. Is if he
had some kind of actual falling out with Dean or something.
But then again, they're like they're completing the tall and
every reason, so I don't know. I mean, in a
weird way, I feel like the most likely scenario is
he might do some more shows with the Sex Pistols,
but he might actually kind of take a few years
off being like an active toury musician. You know, maybe
he wants to spend more time doing his art that
he's like is streaming on Twitch every single day. Maybe
he wants to, you know, spend more time with his
family and you know, be a tattoo artist and the
other things that he does do. Like, in a weird way,
I feel like Frank Carter kind of disappearing musically for
a few years and then maybe we get like a Rattlesnakes,
you know, reunion in five years or something is kind
of more likely than something immediate with one of these
are the more obvious kind of candidates, which again I
am surprised to see, but I feel like out of
what we've got, that's what I would kind of put
my prediction on, just reflecting on the Rattlesnake. So yeah,
it's kind of funny because, as we said, they kind
of drift away from us a little. But that's not
for me to say that I think they ever got
particularly kind of you know, uh bad or disinteresting or whatever, like,
you know, because I think you know that the new record,
Dark Rainbow. Didn't spend a lot of time listening to it,
but there's some good songs.
Speaker 2: You know.
Speaker 1: That Man of the Hour single that they released is
a song that you know, I can recall is in
my head, Like that's a good tune, even Sticky, which
is probably their low point has you know, so I
can see what they were going for on it, and
we would moments, I.
Speaker 2: Mean we're reviewing, we weren't like really negative on it.
You kind of like pointed out that there were things
that didn't work, and there were some songs that were
like catching fun and.
Speaker 1: Overall, as you know, when you take the totality of
their catalog, I do respect exactly what we're saying, you know,
kind of it being a playground for them to kind
of you know, try some different stuff, whether that whichever
records you preferred or didn't prefer, and for some people
there's almost this kind of like revisionism that they got
bad immediately after Blossom or something, and it's like Modern Ruin.
They were absolutely the record was great, The shows all
along that cycle were fucking incredible. And then I really
like the third record as well, when they did start
to diversify the sound a lot more. But again there's
really good stuff on that record. I haven't seen the
Rattlesnake since the end of the Modern Ruin cycle, and
that's kind of more I don't know, it didn't line
up with me anymore, not even terms of musically, but
just in terms of like like literally after the Modern
Ruined cycle, like I wasn't physically in the area I've
been seeing them, and then COVID happened, and then I
just haven't seen them, you know, post COVID on Sticky
or Dark Rainbow or whatever. So like they did kind
of for a boat I saw a lot in those
early years, particularly around Modern Ruin, they did kind of
quite immediately drop off in terms of the amount of
shows that I was seeing them at. But it is
quite strange to think about again, the end of the
modern Ruin cycle. The last time I saw them that
was I think it was the tour where in and
then they would do like a Bricks and Academy show.
Speaker 2: Yeah. I was at that Brixton show where they they
basically the whole thing was like we're playing every song
we've ever.
Speaker 1: Readen like exactly that tour, I remember it, Felix. There
was really something big happening with the Rouse Nakes, Like
they felt like a band who'd gone from just like
two years earlier or something like, you know, playing small
fucking punk shows to exploding in popularity like that. It
really felt like they were, you know, kind of sky's
the limit for them.
Speaker 2: Yeah, I mean I saw them one of their first
of the shows at the Fighting Cox in Kingston, which
is one hundred and fifty capacity venue. They had no
music out at this point, or I think they might
have put out like one single. I think like Fangs
might have dropped as their like first kind of like
taster and so like item there and then Tuesday, like
I say, selling out Bricks and Academy like and it
being like this, holy shit, the most exciting thing you
could you could be seeing and again that that they
still went up there like and the stuffing took them
to bigger place, that took them to Ali Palley. Like,
so it was like, I mean the thing that rout
me is I have such a strong infinity for that
first album. It came out like the right time. I
was seeing them, like Timyings, I was going absolutely ape
shit those songs that each album driving away from that
did kind of make me kind of like I had
a little bit less interest in But it wasn't it
wasn't that they got worse. It was just I just
had such connect that first album. But yeah, I just
I say like it felt like people was kind of
did the revisionist thing and they got rubbish after the
first one or anything like that. And like even not
too long as when they were doing the download pilot,
people were still raving about them at that point as
kind of like when the bands of the Weekend at
that So it felt like even not too long ago,
there was still like, yeah, Franklin the Right is still
that band.
Speaker 3: Yeah, And they were getting like on download posters, they
were getting big enough where they had the logo on
the poster that sort of thing. I never really was
a fan, like it just isn't for me, I guess,
But I remember I only saw them once at Slam
Dunk twenty eighteen and periing You basically pestered me to
go see them, and I did. We were different parties,
were on the floor. I was sort of like the
balcony of the We Know, which was the main stage
that year, and I remember meeting you afterwards like, fuck,
they're gonna be the biggest band. That was incredible. I
was just salivating. I couldn't believe how good they were,
and I was like miles away from them.
Speaker 1: Yeah, they were. Again, I can't comment on the last
few years. They could well still be, but they certainly
were at the time that I was seeing them a
sensational live band. Whether you were that in on the
records or not, I think, yeah, I just think i'd
be interested. I'm sure it will come out eventually through
some interview or another, but I'm interested basically to hear
you know what the thought process is here. Because I
can't see a particular I think this is almost more
like mythbusting, you know, like people I think are gonna
want to pin it down to a certain like people
stopped caring people, they stopped selling tickets, they got you know,
bad after the first couple of records or whatever. I
can't see a clear cut, obvious reason as to why
they're out Snakes would call it here, and it certainly
doesn't mean, you know, that the call coming from the
sex Pistols or anything else. So yeah, I'm just interested
to see what more comes out of that.
Speaker 3: It could be pretty exciting when we get John Leyden
and the Rattlesnakes.
Speaker 1: Yeah, Dean and John met up in a bar somewhere,
both feeling slated and formed that. Yeah, just in a
weird way, again, I hope the Battlestate has come back
to me. And I was like, you know again, even
though I wasn't a huge fan for the last couple
of years. The thing that I can see happening is
basically Frank taking a few years off and then maybe
I would hope returning with something like a rejuvenated Routes
Snakes or whatever. But yeah, in a weird way, it's
almost like kind of a cap on a band who
in the UK music scene had been a significant big
name for you know, the last kind of ten years.
Summing up. So yeah, an interesting news coming out of
the Ratlesnakes. Let us know what you think you know
it's going to happen with that? What Frank Carr is
going to do next? What a Frank Carter front Sex
Pistols Records would do? There we go. Let's move on
to Scowl. One piece of a new music for the
week is like a three minute track. Hell, it is
a song from Scowl. It is called Special. It is
their first release since the Psychic Dance Recycled Dancers, the
last piece of news that they've written. Sofa like they
are kind of I guess duw one. I suppose we
expect this I supposed to be on some kind of
new project eventually, not that it's been announced. Right now, Sam,
I'm gonna throw to you as a top Scowl enjoyer. Yeah,
what do you think?
Speaker 2: I think this is wicked? I think, like again, like
the Scout on Psychic Dancing and starts to show they
were branching beyond hardcore, and this feels like they're kind
of like traving further down that kind of like fuzzy
sort of scars up a rock thing, but they're so
good at it, Like this reminds me of they're diet
like LIGHTLIGHTE but like when Milk Teeth were the band
that everyone was like so excited over this. Yeah, but again,
but this this feels looking a kind of a further
step down that route where it is it's got more
of that kind of like fuzzy guitar sound, big really
big chorus that kind of like cool, disinteresting thing going on.
I think is again really coming into as a vocalus,
where like her Clean's getting more confident. I think Scalar
is like so good, and again there's still got enough
grit with that. You can see that they've they've still
kind of like got enough of a foot in hardcore
that it doesn't feel they're completely a band and that.
But yeah, I'm so in on this.
Speaker 1: Yeah, I think this is good. It hasn't hit me
in a way that the the best songs on that
EP have, but I think it's good and particularly again
you know, again I've made the multie clarisson before, but
I think on this song this feels in the riffing
so much more like hardcore obviously, and like you can
two step to the riff in this.
Speaker 2: It has that proper that's what I mean, like attacking
that in there.
Speaker 1: Yeah, but the vocal is much much like Woozier and
like even you know, obviously it's not her doing the
kind of much more animated singing that she maybe did
on tracks like.
Speaker 2: What's the.
Speaker 1: Opening Night That's the one I'm thinking where it's like
properly hectic. This is much more almost that kind of
like downcast half singing that like I guess most old
rock that punk bands kind of draw on and do,
and I kind of I don't want to lose scowl
to kind of turning into like one of those, you know,
kind of shoe gayzy type bands. But that vocal is
on top of, as I say, like a legit two
step riff and around it. She's still spitting and stuff
like that. So it's kind of an interesting, like get
your head around it kind of mix of elements.
Speaker 3: Yeah, I love this song. I've been listening to this
non stop.
Speaker 2: It's so good.
Speaker 3: It's got that, like you said, that lacks of daisical
like nineties cool kid I don't go a fuck vocal,
but she's still like you know, yeah, yeappping embarking in
the second verse. It's not like they've lost and then
the bit it's gone. Yeah, the riff is still super
feedback and distorted and like squeaking the whole time, but
that melody is so poppy and that's just, Oh, that's
going to be in my head forever. That's kind of
exactly what I want, and it's kind of exactly what
you want what could potentially be a lead single from
an album to be.
Speaker 1: Yeah, I think certainly from this we can imagine that
Scowl will have another album, probably not another EP, I
would say another album at this day. They when I
saw them on this year, they said they were heading
to the studio to do an album.
Speaker 2: Yeah, that shows I.
Speaker 1: Think we can probably expect that, let's say early twenty
twenty five, which I think would make this one of
the you know, first kind of heavily anticipated, you know,
buzzy albums heading into you know, next year, So we
have that to look forward to. Bloodstock twenty twenty five
have already sold out their allocation of full weekend camping tickets,
which is the earliest I believe I'm right in saying
that has happened in the festival's history. And this is
just an interesting kind of uh, you know, we have
said when we're talking about the line of everything, they've
clearly pulled out the stops and they have gone big
with the headliners and everything for next year, and they
are aiming to make it even though it's not like
one of their big anniversary years or anything, but they've
they've just decided twenty.
Speaker 2: Five is going to be handed something where they can
put a big package.
Speaker 1: Yeah, it is going to be a big buck fucking
year for Bloodstock. And the fact that in you know,
early October, they have sold out the weekend tickets for
a festival happening in August of next year, I guess
just is can to amount you know, proof that that
is very much true.
Speaker 2: You don't see that for pretty much any festival that
is in Glastonbury now, Like no, like festivals used you know,
like Read of Us, we used to sell out within
a couple of days and it got one where like
if First of were going to sell out, it was
close to the time. Apart from Glastonbury, I don't know,
obviously the scale is different, but Bloodstock and it's so
size being able to sell out this early, it's insane,
like it generally has unheard of.
Speaker 1: Yeah, and they've clearly, because you know, as I said before,
I don't necessarily think that it's a automatically better lineup
than it is usually. I think when you look at
the actual strength of the headliners and also the undercard,
it's as good as I would normally expect a Bloodstock
to be. But clearly, having those three you know, very
popular bands together, they have just been able to kind
of manufacture this sense of like you've got to get
your tickets now, and everyone has like rushed to to
get to do it, and they have been able to
again kind of just insist upon themselves that this year
is like a big event. So good for them, well done,
mission accomplished.
Speaker 2: Yeah, I would say that because like it is the
package of the headlines, and that is the difficult because again,
all of those bands have headlined Bloodstock then like the
last one that would have been like twenty five.
Speaker 1: Yeah, Machine obviously haven't done headlined it in a long
time because they stopped playing festivals, but they did play
it a few year ago in a secret set, so
they've all been there, so.
Speaker 2: Like and so that then like you know, real rare pools,
it's something worse. So like I was saying, like you
replace any one of them with a Nightwish for a Sabtom,
you know, another like well established Bloodstock headliner that would
be a Dwarf. I still don't think it would sell
out because it's just you're not you know, it's not
Machine Hankered Jeer and Trivium all together headlining festival. It's
it's that package is meant its appeal to people who
wouldn't go to Bloodstock otherwise because they don't want to
see a power metal band. So it's kind of like
if you can put together something they're just on paper
looks more exciting to like the people who might not
garve wise, the proof is there that it will put
them in.
Speaker 1: Yeah, in a weird kind of way, that's almost like,
you know, we've spoken about kind of Bloodstock versus Download
in terms of like crowd and like attracting one side
and the other, and like all three of those bands
are like pure Bloodstock bands. So in a weird way,
they've managed to maybe you know, grab some of that
download audience, but without actually changing the type of bands
that they have headlining it as opposed to you know,
when they've maybe but some other bands who are slightly
more out of uh, you know, the zone of what
Bloodstock normally is interesting, and I guess again it clearly
shows that the headliners of what's made it happen here
because like the undercard is nowhere near complete yet. I
wouldn't like there's good stuff on the undercard, but it's
not the most crazy undercard you've ever seen. I don't
think Lord of the Lost were selling all those tickets
a coil. I need to get my ticket immediately, exactly.
So it's clearly, you know, people have seen those big
names at the top of the poster and gone, oh
my god. So yeah, clearly you know, a big year.
I'm sorry if you didn't manage to grab your weekend
ticket in time. I'm sure that you know, obviously there's
will be day tickets and stuff like that, and you
know some of you will find your way of getting there,
I'm sure. But yeah, pretty insane news coming out of
the Bloodstock camp this early on. Just I thought it's
worth noting that, as we sometimes do, No Effects have
now played their final show allegedly, and of course when
it comes to them, but I think you can probably
say that's going to happen. No Effects have completed their
farewell Talk with a show in Los Angeles. They played
a thirty two song set list featured various guests coming
out with them to you know, play songs with them.
Tim arm Strong, Brett Gurrowitz, Chris Shiffler, all sort of stuff.
There's but you know, just no effects officially now not
an active band who exists. So if you are a
big fan of that band, you know, obviously a tip
of a hat there and a couple of you know,
touring announcements coming over here. We have Covell Attack announcing
a UK and European tour with the supports are like
slightly different basically depending on where on the continent you are.
It's Ern and Mantar. We hear in the UK are
getting Ern. So if you want to see a pretty
amazing band, you know in Covell Attack with one of
the kind of more popular current newer you know, UK
metal bands with Ern. That is a tour that you
can catch when it comes around in February, and we
also have just before that in January, a ten year
anniversary tour. From the excerpts for There There is Only
You album where they are playing venues that are bafflingly
small for they're playing Rebellion in Manchester. I feel like
that's a venue that I should never see a band
with a singer playing like grunters and growlers only you know,
only shriekers. But the excerpts are playing there is only you. Mark.
You are going to be there fucking ten hours before doors,
aren't you. You're going to be organizing the Q like
one of those people getting it.
Speaker 2: Make sure eyone gets their Q wrist bands.
Speaker 3: Yeah no, I'll be taking raffle numbers. I'll be handing
nervous bands. I mean the deliberately doing smaller shows. So
I'm hoping I get in because if I don't, I'm
going to be so grumpy.
Speaker 1: You do have two dates in Glasgow, so you have
slightly bit of chances of.
Speaker 3: And fuck it, I'll try Newcastle if I have to.
Speaker 2: I'm going to go.
Speaker 1: Yeah, good way to kind of win some you know
good will back the excerpts. Yeah, doing that record right.
Let's move on to questions for this edition of Hypoblast,
which come as usual from the That's Not focus group
on Facebook. Had fair number of good questions, so thank
you everybody who ask them. If we don't get to
one there's a very good chance that it will return
in you know, a future episode in a couple weeks
or something. But today we have Joel Anthony asks, I've
seen the same metalheads complain about nostalgic bookings at festivals
as I have rave about album in full sets. Is
there some double standards? I asked this due to myself
looking sorry, complaining about last year's Slam Dunk bookings but
then excited for Damnation album in full sets. So I
guess open this up, you know, is there a kind
of double standard? What is Why is one of these
things exciting and one of them isn't? What do we reckon?
Is there a double standard?
Speaker 2: I mean, we all have our own double standard, Like, well,
we're all guilty of it. Everyone is sure, and it's
kind of you just you've got to acknowledge where your
sort of like bar for that is. I mean again,
there are things where I go like who wants to
say it's it's what are you nostalgic for? You know,
like if it's the if it's nostalgia that hits for you,
of course you're going to be excited about it. If
it's the nostalgia, like I said, like I'm going to
be excited about you know, fucking Young Guns and Mallory
Knox and Blackout coming back, and you're not paring because
you don't care for that stuff at all. And that
was you know with me in the same way, I'm
not gonna care for some of those like older Definite
bands that you might see coming around and go like, oh,
that's a really exciting booking. And I'm like old Definite bands.
Some of them are really good obviously, but just we
all have our kind of like thing we're gonna pick
and choose to get excited for. I do. I do
get like the arm in full sets is always one.
I'm like, are you actually excited to see that album
in full? It's always the question I asked when people
start raving about that because some of those albums, am like,
you don't actually want to see the album in full?
They're they're tricking you there. But yeah, we're all a
little bit here hypocritical and guilty of it. But you know,
just do what you enjoy it makes you happy.
Speaker 3: Yeah, this is gonna come across as very rich as
a man who just said he will fight the entirety
of Newcastle to see the excerpts.
Speaker 2: But but you want to see that album in full
album is like a ten.
Speaker 3: Yeah, that's a very special album to be I do
feel like I'm so sick album in full shows it
needs to be one of the like thirty albums are
like the most in order for me to really care
and not roll my eyes at it. I feel like
if I were to play Devil's Advocate, the sort of
the Damnation versus slam Dunk comparison, the band's playing Damnation,
they could play a set of any songs and it'd
be just as good the once pointing slam Dunk. They're
playing those albums because maybe that's the only material they
can play.
Speaker 1: Yeah case therefore, like what is a special event booking
versus a desperation pushed the panic button?
Speaker 2: I'm that way to look at that is true because
you know, like this is like this is murdering full
Like again, that's not going to be a special everyone.
But that album, you know, people like it, that's a
special album. Never Happy ever After by as it is,
isn't necessarily a special album, is it? Really? Yeah?
Speaker 1: I will, you know, put forward my two differentially, but
I certainly I think to some degree you know there
probably is some double standard going on. I think we
can all accept that. When do you want to get
nostalgic about things that you really love? Yeah, of course
you probably do. My two arguments are my first one
is slightly more flippant, but I also believe it to
be true when you're getting nostalgic for things that are good,
it is better when you're getting nostalgic for things that
are shit.
Speaker 2: Right, what you're getting the Salded for? Yeah, cool? Fair enough.
Speaker 1: Yeah. I mean I'm not gonna put it in those
kind of you know, pointing fingers at anyone term, but
you can do that. I do mind, I do think
there is a difference between you know, of an example,
right like when Akakka played Oranzon right last year, right
like that is a fucking incredible, like one of a
kind album that do I want to get I'd say nostalgic.
I wasn't, like, you know, I wasn't there on day
one for Koranzon. But do I want to go back
in time and visit that album? Fuck? Yeah, I do.
Speaker 3: Uh.
Speaker 1: It's when you see the Wea, the Kings and like
Hey Monday and all of that being like put like
it's dredging up parts of the past that I think
for the health of the music scene our best kind
of left in the past. That's why we're putting it.
The other way is again it's about the kind of
overall approach of let's say, a festival. And again this
is where you draw the differ between again, I don't
I don't do to a the comf slam dunk all
the time. It's only because it's being presented here in
the question. But you know, are complained about something like
slam Dunk. Are that when you look at like a
main stage, it's full of your fucking boys like girls
and we the Kings and all of that, you know,
direk And if you want to find anything that's kind
of particularly cutting edge of contemporary, you've got to go digging,
whereas Damnation and you know, I understand this sounds because
they're very incomparable festivals, and it sounds a bit like
we're having kind of heavy bias versus like kind of
more poppy mainstream backs or whatever. But just what I
mean is a festival that has your kind of again
special event nostalgia type bookings, but mixed in with something
that's also very very reflective of what is contemporary that
will not draw the same eyre as something that is
actively burying anything that is like, you know, contemporary that
you want to see platformed in favor of nostalgia for
shitty things. So when we look at like, again, this
is Damnation bill, for example, Yeah, bleeding through doing this
is others a murder that is absolutely a nostalgia booking.
That's what it's there in Cradle, Yeah, they're doing an
old school thing. But let's look at else in the
bill they've got on that main stage, they have Gate Creeper, right,
like one of the of the moment death metal bands.
All over that bill. They have you know, two hundred
stab wounds enforced into armor, Gillian Carter, all sorts of stuff,
even on the album full Front right employed to Server
doing an album in full set, and it's their most
recent album. And I feel like Damnation is a place
where you're kind of more like to see things like that,
Like bands will turn up and have like event bookings,
but to showcase what they are actually curly doing, whereas
you would never get that at one of these more
you know, when we were young nostalgia minded festivals again,
it's look at dan Nation last year when again the
nostalgia things, I guess lectpros were doing coal, you know,
Enslaved did a couple of older albums that kind of thing.
But also across that bill they had like in in
prominent slots they had you know, like Kemis Bosk, Harriot's Ashenspire,
High Command, Undeath were all there. So it's about what
you kind of If your festival is one hundred percent
all nostalgia, then yeah, I think you have a problem.
But you know, you take anything in moderation, you know,
and can we get excited about revisiting some really cool
album and fall type sets while also at the exact
same time on the same day championing some of the
best things that are happening now. I would say that's
what heavy metaler is all about, you know. It's the
genre is the best I think at kind of embracing
and remembering its past while also hopefully, you know, championing
what is kind of currently happening. And that for me,
is where I would say that's not a double standard.
That's a clear distinction between one kind of mindset versus
another one.
Speaker 3: Yeah, I love you know, just to be super basic
about it. There is a difference between Oh, Converge or
Credible Filter are gonna be playing songs that probably never
played in ages versus or Milory Knocks are playing all
the exact same songs that would have played anyway, except
in the different order because that's how the album was.
Speaker 1: That's another very good point as well. Yes, so Emmy
Lananio says, Hi, what song is so out of character
for the band that wrote it that it makes you
think this belongs in this other album, but this other artist.
Interesting question. This is the one of the bunch this week.
I really kind of had to rack my brains over
the most because I didn't have like an initial gut response.
I came up with a few I'll throw it to
you guys first to see if you had anything.
Speaker 2: I drew a blank on this, and then there's gonna
be ones out of that will jump to me. But
I was I was like, there's gotta be somewhere. It's like,
that's a really bizarre choice that you've thrown in there.
But a lot of the bands that I like that do,
I feel a lot of bats like they either are
really eclectic or they're never eclectic guitar, they do the
one thing, and if they don't, it's you know, a
kind of one of song that isn't attached to an album.
So I was kind of like strong to think of
one way you kind of like this shouldn't be on
this album or whatever.
Speaker 3: So yeahdra Black, Yeah, I know there are ones out
there I just couldn't, you know. I know there definitely
are examples in the past where I've been like, why
the fuck does this song rand with soun like death
heaven or whatever? The closest I can go is that
for your strong song that sounds like astronoid?
Speaker 1: Yeah? But again I like that song that I think, Yeah,
it is a It's it's a strange question in terms
of I think most of the really like if we
review an album and there'd be some really fucking in
congress track, like what the fuck is this doing here?
I think most of the time we probably forget those
because it's just sort of slightly weird more than it
is super like memorable, you know, again, really trying to
rack my brains on them. I was like, obviously, any
Motley Crue ballad apart from Home Sweet Home, which I like,
but like without you on Doctor Field Good yehenuinely feels
like it should not be written by the members of
Motney Crue, you know, and it does not belong on
that album because it's so at odds with the very
message of what they'd only do that's like a poison
song or something that's not that's not a Motley Crue song.
The first one that came to mind weirdly terms of like,
you know, something that's kind of weird that it sounds
like that is the Volbeat album from I think the
twenty nineteen one yeah, which I can't remember that album,
but there's a song it's called Sorry Sacker Bones, which
just suddenly sounds like Grave Pleasures. I was like, what's this,
what's this beast milk song? And I like that it's
cool and like, you know, kind of weird things like
that where there are some cool, like you know, stuff
that I like where I go, this reminds me of something.
It's kind of a wild card that they've done something
like this. I was like, everything by nine Inch Nails
and Hesitation Marks is it's like quite out of character,
almost like incredible you know, joy division new ordery type
pop song that's just in the midst of album and
it's really really great. The one that I decided, I
was like, this is my answer, I think is old school.
Black Sabbath bizarrely have a few of those, and you know,
Changes almost This is obviously my age, but Changes almost
registers to me, first of all, as a song that
should have been written by Ozzie and Kelly Osborne in
the early two thousands.
Speaker 2: Changes. Yeah, because that was the one. I was like,
listen to me, that was what was you know, the
version that was out there.
Speaker 1: It's so odds with most of Volume four, but the
one again, this is a more obscure answer but bizarrely
came to mind for me earlier, is I don't mind
like the last two classic I say classically, you know,
you know, the last two albums before Ozzie left the band,
Sabbath Album so Technical Extency and Never Say Die. They
are not as good as the prior six, but there's
also you know, some good material on them. For sure.
I'm a huge fan of the title track I'll Never
Say Die. That's an absolute tune. But they also have
some weird stuff on them where they were kind of
trying different things and being like, what kind of band
are We. And there's a song on Technical Ecstasy called
It's All Right, which is basically the kind of Beatles
type piano ballad where Bill Ward sings the song. And
I remember hearing that for the first time, like as
you know, as a teenager when I was discovering Sabbath
and being like, okay, this is this is not what
I like have been drawn to Sabbath for. I don't
know what this song is meant to be why it's
here again. Maybe not an awful song, but just in
terms of a song where I go, this doesn't feel
like it belongs on a Black Sabbath album. It feels
like some weird post Beatles e type band that one
springs to mind.
Speaker 3: Ossie has fucking tons of them. Yeah, he'll just slap
a John Lennon's song on his albums.
Speaker 2: It's like twelve of them he does.
Speaker 1: I love Ossie, but he's.
Speaker 3: You know, he's not good at it.
Speaker 1: Yeah, a song I really like, but it's it feels
weird to like it because it doesn't feel like the
band in question. Stain of Mind by Slayer, which is
one of the I think was one of probably one
of the singles from Diabolis in Musica. It's one of
like the two or three songs on that record that
I think stands out. But like, I really like Stain
of Mind as a tune, but I also feel like
it should just be a cold chainer song. The way
Tom is like quasi rapping on it and the riff
in the verses. There are some brilliant, you know, slayery
moments in it, but it's a song where I go, like,
I like this song, but it doesn't actually feel like
it should be a song by the bands who have
made it. So I hope those are you know, appropriate
answers for the question.
Speaker 3: Similar to that, but a full album. I fucking love
Digimortal by fear Factory, all right, Yeah, it's so unfear Factory.
Like you say, it might as well just be cul
Chamber or something, but I love it.
Speaker 1: It's so dumb. Yeah, I can see that being a
fairly decent answer there. Barry Graves asks which band or
artist would you actually like to do a Winter Sun
and devote far too many years to making an overblown
statement or legacy album. My personal favorite example as a
maginos pype of oystercle love that album. Yeah, that's a
kind of crazy album that's kind of got this whole.
It's the album almost like basically killed the band for
a while because they took years to make it, and
it's basically like one member kind of directing it all.
And it's like this mad, like harsh, heavy netle album
that has like a whole concept about like Frankenstein and
edgl and Bow. It's kind of I would I wouldn't
say it's one of the best Lawyer's Got albums on
par with like, you know, the classic eight you know,
early eighteen seventies stuff, but you know, I do also,
you know, enjoy elements of that album for sure. Now
this is a I think, very good question because what
is essentially being asked here is I'm assuming that we
can say that the end point of this thing will
be good, right, and will be worth it. That's what
you've got in Winter Sun's case. You know, we can't
necessarily say for sure that we'll be listening to Time too,
for you know, a million years to come. But like
right now, I feel like I'm worth I'm happy in
saying that, Like, you know the result of that process
was in the end positive or I guess it's a
what band do you think would produce something good out
of that? Rather than going completely insane and producing something like,
you know, utterly nonsense. But what we're asking here is essentially,
what band would you like to do something that in
the end will be so good that it is worth
the years of frustration that it would take to get there.
Speaker 2: Listen, I don't I don't think there's any band I
would want to go through this.
Speaker 1: Do none of your punk or hardcore bands?
Speaker 2: He's like, I was like, you know what you mean?
At six? Can do it happen? Like release an album
and then tears there, do the second part to it,
and it can be this like sprawling genius work where
Josh Francheski builds himself a swimming pool and goes mental.
Speaker 1: I feel like that's a science experiment in terms of
almost like you know, like watching a hamster in a
cage or something, is like what happens if you give
Josh Franceski infinite money?
Speaker 2: What would he give those fifty pound notes? You can
go buy his own album with.
Speaker 3: Give them infinite fifty pound notes?
Speaker 2: Well, I genuinely don't think I want any of my
bands to go through this process.
Speaker 1: You don't want to go through it.
Speaker 2: Yeah, because in a way, like.
Speaker 1: You are sacrificing for this year's worth of regular albums
from a band to do this. So in a way,
I don't want it to be like one of my
like I don't know, like album of the year year in,
year out type bands who I require albums from every
few years in order to live, you know. I want
it to be someone, you know, like Winter Sun, who
I love, but I am able to kind of like
tuck away in a back pocket for periods of time
and like let do their own thing and eventually re
emerge when they're when they're ready. Mark, do you have
any thoughts on if you have to pick a band
to go away for an extended period of time go
fucking mental in the hope that they will eventually return
with something that really shows that.
Speaker 3: Oh, I have the answer.
Speaker 1: What's your answer on an that is now that it's
I'm thinking about it. One of the problems of Weezer
has been regular out.
Speaker 2: Can't get rid of them? You know what? Yeah, no,
this is it.
Speaker 1: It's like, this is the answer.
Speaker 3: Yeah, Weezer release schedules are frustrating anyway. So if it's
frustrating in the different way I can draw up with
that and we get you know, I don't know if
it would be good. You know, if we're under the
assumption it will be good, then farking now Weezer all day.
Just give Rivers as much money and as much time
as possible and see what the fucky cooks up.
Speaker 1: Yeah, you don't know what that would even be because
like I think about you know, okay Human where they
already did a sort of like orchestrally type record that
was really good in you know, obviously much shorter amount
of time that they had to make. That would it
be some kind of like gratitude pop opus Like I
don't know, but yeah, considering the problem with Weezer is
every every other album is good, but obviously every other
album is you know, kind of a nightmare. That's a
if you they were forced to go away for like
twelve years and then come back with something, what would
that be? That is a very fascinating thought experiment.
Speaker 3: You know how the White album, every song on that
has tons of just like shit in the background, like
guys going whoo and like in the back. It'd be
like that, It just be ten simple little pop songs
except tons of shit in the background, just going.
Speaker 1: To imagine the state of his spreadsheets in the process
of making that thing. Jesus Christ. Yeah, that is I
think that's the most interesting answer that we come up with.
At least I was thinking, I hope that's what Cobalt
are currently doing. From them in a while, I hope
that's what they're doing. The answer that I came up
with is more I have no idea what the fuck
it would turn up with. But imagine if in Peri
or Triumphant lock themselves away for ten years because they again.
Speaker 2: I'd be happy with them to just go away for
ten years.
Speaker 1: It would but like you know, every like you know,
a couple of years they've come out with something and
it's been pretty fucking crazy. I'm just like, imagine if
we give them access to like any fucking.
Speaker 2: Rat chorus, ten years the right course, ten.
Speaker 1: Years cracking the art of melody. Yeah, but like I imagine,
if you know, we give him access to whatever New
York jazz orchestra or whatever they want and see what
they turn up with, that I'd be interested. I don't
knowless if I would like want them to do that
ahead of you know what they are currently doing. But
that's my interesting answer at least. But Weezer is a
fascinating ultimate path of what could have happened. And Matt
Luke asks, if you could bring back one inactive band,
including any with deceased members, for a five song gig,
who would you choose. I'm going to assume that part
of this question was actually also coming up with the
five songs that would be in the gig, because that
feels like the interesting fun part of this. I my
if again, if we're reviving anyone and bands who, like
you know, cannot currently exist because a member is gone,
I would like to see typo negative. That's always my
go to answer, and my five songs again, you know,
I never saw type of negative, So I like the
ubiquitous hits that you'd imagine you obviously we did see them,
saw I never seen any of them. So, like my
five songs, it's hard to beat something like love You
to Death, Christian Woman, I Don't Want to Be Me
Black number one, wolf Moon that is, and that most
of those are pretty long songs as well, which is
nice bonus. I'm having the full you know, non radio
edit thirteen minutes of Black number one, and again that
doesn't you know I could put in my Girlfriend's Girlfriend
or hallo is Eva is one of my favorites. Everything
Dies again, the entirety of like unsexfully coping with the
natural beauty of infidelity, whatever. But those are my five
songs I would pick. I would also I know you
said one band, but I'm going to continue on. I
would also like to see the Devil's Blood, and my
five song set list I think would be on the
Wings of Gloria, I'll Be Your Ghost Queen, and my
Burning Heart, the Yonder Beckons and the Badness of Serpents.
And if you don't know that band, just go and
listen to those five songs and you.
Speaker 2: Will be a fan.
Speaker 1: What do we reckon?
Speaker 2: I mean, I've gone completely You've got, you know, really
flesh out in the emotional So I'm like gloss play
every p and pole be the best ten minutes of
my life. Wouldn't even last the entirety of No No No,
I says, probably about eight minutes. When you know, like
if they do the twenty fifteen demo like that for
so I can do that whole opening shot of bit
like just that's all I need that ten minutes and
I'd be I'd be happy.
Speaker 3: Yeah, I I have three answers as well, because I'm cheeky.
I I love the Ramones so much, so there were
the immediate like well, I'm going to say the Ramons,
but that said would take up eight minutes.
Speaker 2: And even though when.
Speaker 1: Punk bands for this is hard compared to you know,
slightly more substantial.
Speaker 2: Why I just embrace the short like yeah, like live
in that ten minute moment, that's what you need, like yeah,
blitz quigbop.
Speaker 3: Oh. I love her so do you want to dance?
She's sent sation. She was a punk rocker. That's like
the best seven minutes of my life. They played their
songs twice as fast anyway, so it'd probably five minutes.
Like I would love that so much. I would love
Twisted Sister to come back, because again they're one of
my favorite bands. I never got to see them. My
Twisted Sister set list, Stay Hungry, the Kids are back,
bad Boys, rock and roll from the pre debut days,
just interesting little and I love that song Hot Hot
Love is one of the best songs ever.
Speaker 1: You could off.
Speaker 3: Half of you listening probably don't even know what that
song is and you should change that. It is so good.
We're not going to take it then because obviously, but
you know, i'd have Hot Love twice, and you know what,
I would love to be in a room for a
lot of Rush fans and to rush and.
Speaker 1: A rabbit hole of thinking of some other ones and
Rush for one of the bands. I was also thinking about, Yeah.
Speaker 2: As well, this fung to me. Beastie Boys, like that'd
be such you know, sabotage by just go for those
sabotage Intergalactic. No, it's on Brooklyn and then I don't
know like any of the people, but like five songs
a Beastie Boys, just like one last massive party, come.
Speaker 1: On, Yeah, what's your what's your Rush selection?
Speaker 2: Well, I love the.
Speaker 3: Idea of like we all know we're coming to see Rush,
full of these old nerds and Rush come on and
normally played five songs from Hold Your Fire times times
downs still five times.
Speaker 1: I'll take that plain.
Speaker 3: And it's like Amy Man's backstage, she's here, she's ready
to rock her and you want them to play some
dumb ship like Tom Sawyer. Come on, you don't want
to let Amy down?
Speaker 1: Yeah, I'll go with the you know, more like if again,
I never saw Rush and it's they're hard to pin
down to five songs, you know, like I almost I
can't do it really, but like I would have them
for a start, I'm cheating. I'm having them opening with
twenty one twelve and.
Speaker 2: One song.
Speaker 1: Yeah it is one song, You're twenty minutes at the
start there, I'm definitely having the spirit of radio in.
I feel like again just for the moment of it still,
i'd have to have them clothes on Tom Sawyer and
then in the middle somewhere you could pick fucking you know,
like Subdivisions, Limelight. I would want something from Power Windows.
I put in yeah, you know, Xanadu fucking hard. And
then again, the moment where I like stopped thinking about
this because I was like, this is going to go
on forever, was when I started thinking about Thin Lizzy
and I was like, right, so we're opening with the
boys are back in town because they are literally back
in town town. I'm having cold sweat, I'm having the
Holy War. I'd have them end on Cowboy Song because
that would like reduce me to a puddle. That last
slot in the middle, I don't know what like you know,
there's millions of songs like Whiskey in the Jar, fucking
waiting for an alibi, I Love Angeler, Death, like Chinatown,
Mascat go on forever. But those are a few answers there.
So next week we are schedule is slightly kind of
unpredictable at the moment, but next week we are going
to do an album Club episode, obviously following offrom the
reviews that we did recently, and it's gonna be a
very special album Club episode because you know, as some
of our conversations earlier kind of hinted out, is very
soon going to be Damnation, first of all. And last
year we had a really successful time doing a kind
of like Damnation themed kind of preview episode almost on
album Club because, as you know, we were discussing, they
do do a number of kind of album in full
types slots and special sets and stuff like that, and
it's kind of, you know, interesting to you know, maybe
if you don't know some of the albums in question,
you know, give you the spiel on kind of what
is interesting about them, or just like fully celebrate, you know,
stuff that we kind of really really know and love.
So we are going to be doing another one of
those like last year, because it is kind of you know,
immediate in terms of its immediate relevance that is going
to turn up on just the normal podcast feed for
you here next week. So we are going to have
album clubs very very soon featuring a handful of records
that are you know, going to be at least relevant
to this upcoming Damnation festival which is just a few
weeks away. So that is what we have cooking up
in the very very immediate future for you. Let us
close out this hyperlast with releases, and again, it's been
like a few weeks where we've missed these because of
when our podcast schedules kind of lined up and stuff
like that. So we've got like a few weeks worth
of stuff. It won't be exhaustive in terms of every
single thing that came out because of that, it's just
going to be kind of, you know, the main cherry
picking things from like the last few weeks, including today.
So going back to kind of a I guess the
last week of September, just a handful of things that
weren't already mentioned on like our reviews episode, for example,
but that you might want to know about. High Parasite
released their album which is called Forever We Burn, which
is the almost like kind of like goth rock, much
shorter form, poppy and of project from Aaron from My
Dying Bride. We have Weather Systems Ocean Without Ashure, which
is the new project of Dan from Anathema, obviously taking
its name from a prominent Anathema album. And if you
you know, were mourningly loss of Anathema a few years
ago when they announced quite sadly they're gonna be splitting,
this is it's not like exactly picking up where enough
Anathema kind of left it down. But if you like
that kind of involved, interesting, emotionally open prog rock, I suppose,
then you should definitely, you know, if you like the
Anathema basically should definitely check out the weather Systems out
if you didn't know it like existed elsewhere. We also have,
again on the slightly more kind of you know, alternative end,
there's Oragami Angel put out record Feeling Not Found, and
on the extreme end, from a couple weeks ago, a
couple records on I mentioned. One is from a UK
band called Adoia, which who are again a quite long
running band, but this is their first record in many years.
The record is called Bleed on My Teeth and it
has one of the single best cover arts of any
record this year. I am not talking about the censored
one that shows up on Spotify. There's also, again on
that black metal front, a man called Spite, who are
kind of like I think of like a Hebrew themed
black metal band, put a record called The Third Temple.
Moving forward to last week, Blood Incantation released their album
Absolutely Elsewhere, and you know, spoilers, that is going to
be lead review when we do our album reviews in
a couple of weeks time here on the podcast feed,
because wow, and you should definitely be doing your homework
on that preparing for that. In the meantime, we also,
of course had Undeath with More Insane, which people have
on of course on that review's episode right there alongside it,
Fever three three three released an album called Darker White,
which again feels like a real uh. I'm not sure
how many people took note of that one, but F
three did release a full length album, which I guess
is there only their second full length album right strengthened
Numbers that feels like a very long time ago. Doesn't
ap in between, but yeah, trash Boats released an album
called Heaven Can Wait the Return of Balance, and that's
a record we'll also, of course have to talk about
because that's a fairly big deal with you in spirit.
Balanced Composure of returned with an album. Drug Church released
one called Prude Chubby and the Gang released one called
and then there was if you want to go more
in that kind of like punk area, God Speed You,
Black Emperor. The post rock you Know Legends released their
no title as of album going into black Metal. Thirteen
forty nine released their album The Wolf and the King.
One of the two Fortress Festival headliners for next year Lowen,
which is the band on Church Road record. It's kind of,
you know, interesting, kind of progressive doom, I suppose you'd
call it, but with like lots of like Middle Eastern
elements and stuff like that that particularly in the singing.
They released a record called Do Not Go to War
with the Demons of Mazandaran Cosmic putre Faction. I feel
very very bad for because they put out a cosmic theme.
Death met a record on the same day as the
Blank Pantation one, and I'm like, I'm sorry that was
asking for a fight, but their record is you know,
if not brain melting, it's quite good. It's called Emerald
Fires atop of the Farewell Mountains. Going into slightly more
again hardcore, a Jason Meathead to death metal. A band
called Maul released as in like Darth Maul will need
to record called in the Jaws of Bereavement. And there
was a couple of EPs that came out last week
as well. One of them comes from Motley Crue. It's
called Canceled and it is a three song EP featuring
the whatever the fucking Dog's single was that they released first,
the Beastie Boys cover that we spoke about, and a
title track of the EP Canceled. And the headlines around
this song are so insane because it's basically Motley Crue
writing a song drawing attention to the fact that they
weren't actually canceled, despite all the hay in the things
that they probably should have been canceled for. I don't
think I've ever seen that before. I've seen so many
fucking old idiots being like, oh, they tried to cancel me,
but they failed. Your kid, rock you count silence me
or whatever. I have never seen a.
Speaker 2: Band going, hey, maybe someone should cancel us. Come on everyone,
you know it was the we Got Away with Murder headline.
I'm like, yes, yes, you quite literally did, didn't you.
Monty Crue like it.
Speaker 1: Was vehicular manslaughter.
Speaker 2: Yeah.
Speaker 1: Again, I've never seen someone very desperately being like, come on,
please cancel us, come out and go. But that is
a thing that was released, and Silosis also released an
EP called The Path, which featured a handful of songs
written and recorded during their sessions for their recent album.
So that is there, Moving on to again, that's kind
of a highlights, if you can call that. Over the
last couple of weeks. Moving on to today's releases. The
eleventh of October, another record I've completely forgotten about is
kicking Us Off. It's the Offsprings new album super Charged
that is out. You excited, Mark, you pull on the face.
Speaker 3: I mean, I don't know. I'm gonna listen to it. Actually,
that stupid pop, like per pop song they released, So
if it's more of that, I'll probably like it. I
don't know, I like stupid things.
Speaker 1: Yeah, I think we probably might not check in on
that one. October is busy enough as it is. Miles
Kennedy is releasing a new song album called the Art
of Letting Go. If you want to go for some
more you know, contemporary pop punk. I suppose Real Friends
have an album called Blue Hour. Touche More have their
album out called Spiral in a Straight Line, which is
not spiral anymore. It's a straight line. Envy More Post
Hardcore Front, the Japanese legends of post Hardcore, releasing the
record in Innoyer, you know, Envy. The Linda Linda's, who
are a band I guess, are kind of kind of
buzzy on the sort of a slightly more indie punk,
whatever kind of end. I've got a record out called
No Obligation. I'm Sam, I suppose to have interest asking
do you like the Linda Linda's at all.
Speaker 2: I've kind of like been observing them from a distance
because I've been waiting for them to like do something
I really like because there's been a lot of buzz
around them, and I'm like, I don't object to them
being popular, but they haven't like wowed me yet. But
I'm gonna check in on.
Speaker 1: This, yes, and then we're going to move into your
nastier stuff. And it kicks off with chat Pile, who
are releasing their record Cool World, the follow up to
a couple of years ago very acclaimed god's country record.
A Rancy Pazuzu have an album that I am getting
a little bit better at pronouncing. I think, over my
various attempts, I believe it's muntautager, or at least that's
the quickest way it can roll off my tongue. But
a Rancy Pezuzzi's record is out and you should definitely
go and listen to that one and Sam. Believe me,
it's quite the release day for this stuff, because I
am I shit you not. Dodds mcgeared have a.
Speaker 2: Record, I do that, Dodhimes another one, and it's.
Speaker 1: Like you're closer than you think. It is an anagram
of Dodds Heims Guard because it is the main guy
releasing a sister album.
Speaker 2: Uh.
Speaker 1: It is a new project from the copniqu from DoD
Himes Guard releasing. There's a single that was released from this.
It's got a bit more like slightly six six six
international vibes to me than like the latest record. It's
I think it's the slightly more aggressively mental versus the
more smoothed out prog side that the DoD Heisger record
was doing. But if you like could not get enough
of DoD Himes Guard, then I'm not making this up.
Dodd's mcgeared have a record album I did a double.
Speaker 2: Te not many years is the last one, I swear,
And now you've said that like I hate him so much.
Speaker 1: He's back again. I'm going to check that record out,
of course I am. The record is called Omniverse Consciousness.
If you are having trouble searching for Dordsmageard, then we
have the you know, kind of Swedish melo death long
running band The Crown releasing Crown of Forms. More contemporary
death metal band Vomit Fourth are releasing Terrified of God,
and this is where I have to, you know, stretch.
My Flemish demannin Broad does have a record sober Mal,
which is Colin from Arman Rah and a Flemish like
folk singer whose name I do not recall right now,
basically doing like a kind of sort of folk country
whatever kind of project together. So there you go. You
can check those out. Thank you very much for listening.
Let us know which are those many piles of albums
you are enjoying as said, next week we will be
back here on this feed with a Damnation preview album
club pack, and then the week following that we will
have the reviews episode. We are going to be talking
you know a number of records that have appeared in
that list just there, so join us once again for
all of those things. Thank you very much for being
with us here on this episode. Don't know not get
canceled like Motley Crue didn't. I don't know where I'm
going with this. Thanks everybody, Bye bye,