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Heavy Blog Review Podcast
Heavy Blog Review Podcast

Episode · 4 months ago

22-6A Necreviewgist

ABOUT THIS EPISODE

Headliners – Tech Death Time: Artificial Brain, Origin, Inanimate Existence, Soreption, Exocrene.

Supports: Rings of Saturn, Vermillian Dawn. 

Special Guests: Dragged Under, Bleed From Within, Thornhill, Billy Howerdel.

Cool People: Coheed and Cambria.

Josh, Uncle Carlo. How's uncle and going? It's all right. Yeah, getting to it. Not a huge work late at this stage. Is it just the occasional holding and that's about it. How are you? Yeah, I'm all right. I was meant to finish earlier at work and of course I finished late because they gave me extra stuff because I didn't have enough work to do and got in, smashed the leftovers through on my white snack shirt and here I am. Yeah, who we're talking about today? Um, well, today it's a bit of a special episode, a very special episode, of the heavy blog review podcast, because there's so many damn releases in June that we've had to break it up into two episodes. So I'm going to be doing another episode that I'm going to be recording this weekend with Trent from the blog, where we will cover the big releases from the likes of Alexas on fire, porcupine tree creator, White Ward, astronoid and a whole bunch of other stuff. But on top of all of that, yes, all the all the tech death bands I didn't put out in last year put out an album in last month. So today we are doing a special tech death focused episode off you just neck review. Just yeah, you like that one. Uh. So, our headline is our our tech death special will be headlined by artificial brain, origin, in animate existence, surreption and execream, and then also some non tech death special guests with the likes of Billy Howard, will bleed from within, dragged under and Thornhill, and then an extra special cool people slash uncool people time with the new career and camera album. I'm so excited, but we have to wait to the end for that. That's that's how it works, although speaking, I was thinking. So normally do what we do the headliners first, but did you want to do the special guest first so that then we do like a big tech death chunk in the middle, or do you want to do the Tech Death Chunk first? It's up to you. Let's kick it off with the tech death. All right. That's what the people want to hear, Josh well, which which I put artificial brain there as the headliners, but you're in charge, this is your wheelhouse, so you tell us how we should be listening to. All right, well, let's let's start with artificial brain. I think they are probably the biggest name of those listed maybe it's between them and origins a bit of a toss up. I'd say origin of the biggest, but artificial brain are the most sort of like Zechristie. Yeah, of the now. So artificial brain now. I just assume, since you're the tech death guy and artificial brain are the big tech death band that everyone loves at the moment, that you would love artificial brain. But even for me that I may have been misled in my assumption, not just misled, Josh, gravely mistaken, that that that much. They just I don't know. I just can't get into them and unfortunately that doesn't change with their self titled Third Records. So in the past the really super deep gatheral vocals have been sort of off putting for me, but I can't really say that that bothers me anymore. I think that's a meat thing. I've just fine with it and the productions not to my taste. I prefer things to be recorded in studios rather than caves, but that's all right. That's the vibe they're going for. I can acknowledge that and appreciate that that's a big part of the appeal for a lot of people. So the key for me with most music, but especially with tech death, is the music itself and other official brains music just doesn't grab me. Not Enough Groove, not enough melody, and I feel like I need at least one of those things to be quite strong in order to grab me. Yeah, sir, we've got all these tech death bands and I think all of them sort of represent a different aspect of tech death, which is kind of convenient and interesting. And we've got artificial brain written down here is weird tech death, which, yeah, they they are weird, they're they're probably they've got the brutal vocals and things, but I guess they're more like in the in that dissonant tradition. Yeah, and I can appreciate the general atmosphere that they create and that bleakness, but I need more than just atmosphere and bleakness and I feel like that's that's kind of all they do. And I'm sort of picking up that you're not that into the the dissonant side of of tech death when you say you like death metal plus something. That's something normally isn't dissonance correct. So I think weirdly I am a bigger fan of that sound than you like. I I really like Gorguts and Ulcer Ray and I'm not into all the bands that sound like them, but generally that sound, if it's done well, appeals to me, whereas I think it doesn't necessarily appeal to you, artificial brain. I I really, I did really like their last album. What was that called? Crimsons Infra Red Horizon, I think, for Red Horizon. Yeah, I thought that was really good. I mean people at the blog were raving about it and it didn't like fully click with me, like it is outside the wheelhouse of all the things that I usually listening too, but it was one that I listened to. What. Yep, this is good. I understand why people are raving about this. This album has got a similarly ravenous response from both the blog and yeah, we had armored review this for a heavy blog. He said that the album contained the best that the band's brilliant blend of Sci Fi, horror and decent death metal has to offer, condensed into an expertly paced album, and I think I sighed more with you than Ahmed on this one. This one's not doing it for me anywhere near as much for a lot of the reasons. You said that you've come to terms with Um. There's a couple of running themes throughout the this tech that time, I think, and a few of them are are exemplified by this album, one...

...being that the production sounds like shit, and I don't think just tonally. I think it's it's Mushy, it's hard to actually listen to and discern. I feel like that's the point. That's what they're aiming for Um. So, like, I agree with you that they don't like it, but I also don't think that's a criticism that would bother them, if that makes sense. I don't think they'd be bothered by anything I had to say. But it's definitely a deliberate choice. I mean, this album sounds like it's cover. There's it's swampy, it's Brown and green and there's there's something science fictional there, but I'm not really sure what it is. Definitely enjoyed it as much as I enjoyed the cover. Are you like the color? So the cover for me, I'm looking I'm like, what is that swamp or something? Yeah, it's like something. I'm not sure where I'm meant to focus, which, yes, is the same as listening to this album. A lot of the time. So the Mixes Mush. I think the drums in particular sound like ship. I mean they've got the Pony Brutal Death Metal Snare, which so does one of the other bands we're going to talk about, but here it just sounds really I don't know, I wouldn't have chosen that sound. So yes, all these are things. Are Deliberate, ascetic choices. I don't think they're necessarily good ones. And the other thing is the vocals. So this might be a running thing. Yeah, the vocals. It's not so much the style of that that legally brutal death Mele thing. I just don't think they add anything to the music. They seem kind of pointless, to the point where I wonder if this album would be better as an instrumental record or just an album where the vocals will maybe use more sparingly, because they don't. They don't really add a lot and often I find they detract often the music, especially I think the guitars and the bass playing on this are really great and there's lots of interesting shifts going on in the music that I think just get lost between this over the top. So yeah, I wonder if if they pulled back on it a bit, it might be a bit more rewarding. And I think the Times where the vocals do stand out is when I don't know if they have guest vocalists on here or not. There's a couple of moments where the vocals are different. There's one on insects where there's like a broken vocal. But yeah, so I sort of like the idea of this, but it's not connecting with me and it's not connecting me with me even in the same way as infrared horizon did, with the exception of a lofty grave, which I think is a really cool song that goes more into that the atmospheric sort of chill vibe, and I think that there's maybe less vocals on that because when I say like if they were used sparingly of it as instrumental, like maybe something like what that blood incantation album was going for, but a little more involved, I think they could have something there and they are close to it on a lofty grave, and apparently I'm at agrees because in his review he wrote that where the album really piques though, is a lofty grave. To an extent that almost does the rest of the record of the service grave is simply the best song the band have ever done, virtually compressing half and album's worth of ideas into four and a half minutes. And while, yeah, I don't think I'm in agreement with his overall assessment of the album, I agree with that a hundred percent and I'd really like them to take that more atmospheric, almost subdued angle and run with it rather than the brutal dissonance stuff. You know, I'll really listen to it because I just listened to it in the album, front to back and words and paying attention to which track was which. So yeah, no, I think I could go for an instrumental version of this album if they put it out and we were the tighter snare, I'd be interested to hear it. Rare two next color. Let's jump to inanimate existence and origin. Yeah, we'll save origin for last. Alright, we're gonna start and finish with the big boys. Okay, tell us about inanimate existence then. So I really enjoyed their first two albums. This is a never ending cycle of atonement in particular, is probably my my favorite release of theirs. I think that was their second one, and liberation through hearing the debut. Those were both cool and I felt like they were quite innovative at the time, using, I guess, Tremolo in death medal in a different way to what I've heard before and integrating some other sort of non traditional instruments as well. Cool stuff. Then they really lost me with calling from a dream, which I felt was quite me Yoka, and then since then they've been in between a not as strong as the first two, which I really loved, but also serviceable and solid rather than mediocre and subpar. What's your history with them? I don't have much of a history with inanimate existence. I sort of I've recognized the name when I saw that the new album coming out and looking over back over their albums. Yeah, calling from a dream, I think I remember maybe Noian or someone on the blog person about. I recognized that cover but I couldn't recall what it sounded like other than than tech Um. I don't think I've listened to their their first two albums at all, or even any. I think I may have given calling from a dream and listen I went yeah, I'm not really feeling it, and then I don't know if I've listened to anything else they've done so. I I checked this album out on a whim and name recognition, and I gotta tell you, Carlo, I bloody well like it. Yeah, I think this album is really cool. Um, as you said, there's the tremorler usage, like the sort of Falluja Fla Um, the atmospheric side to it. That it's it's not quite the same. It's not as floaty. It's a bit more...

...techy. Yeah, I think this is here representing sort of spacey, proggy side of of tech death. Yeah, that I'm quite big on this. This might be one of my favorites of the Tech Death Group we're doing today. How are you feeling about it? You're smoking there and I'm wondering which way you're going to go. I reckon. I've listened to this half a dozen times, okay, and I still couldn't tell you what it sounds like. It's just made like such a basically no impression on me at all. There was nothing that grabbed my attention throughout. So, but if you're enjoying it, maybe I need to give it a fully devoted listen. Any distractions. I recommend sticking with it because it's I liked it the first time I listened to it, but it's definitely built on me each time. And yet so today when I was driving around, as I told you, I listened to all of these albums back to back in preparation, so I had there was a lot of tech death and I listened to a couple of the other ones earlier that we'll get onto. But my first note here was, oh my God, dynamics and melody with a big excreation Um. I think that's what sets it apart from the others, because there there, there is. There's lots of variation and I think even though you're saying it's not standing out to you, to me there's lots of moments in here that really grabbed my attention. Also, in comparison to artificial brain, there's still a that floaty, fluous fla. I keep dropping the young in it, but Fluja nest style to it is balanced out by sort of more, yeah, brutal death metal vocal style. So not not the Google of artificial brain, more in the line of like immolation or something like that, and I think the vocals here, by contrast, really matter and add to the song. So it is a way to say, like you don't need fancy vocals, like they're very monitoring. They're very it's the same brutal death metal vocal throughout. They're just used really well. Yeah, I my other note, besides the dynamics and melody, is this does go on a bit. Like the album is longer compared to the ones we're doing there, and I don't think it goes on too long. Do you think you could probably cut maybe a track or two off it? Yeah, I think track five, wondering why halls was where I sort of felt okay, well, we've been doing this for a while, but then the next couple of songs really good. The last song, ending the ritual, I don't think ads much. I think that's maybe a weaker song on the records. I think if you cut those two off, which would go down to like, yeah, closer to half an hour. It's only forty minutes long, but it's, you know, tech death. Yeah, I really like this, so I recommend you stick to it and I recommend our listeners check it out. I'll do that and if you enjoy this, then definitely check out the album. A never ending cycle of atturnement. The first two you record. What was it about? Calling from a dream that you didn't like. I remember they have a lot of female vocalists on there, right, and it just didn't seem to fit or it seemed like shoehorned in. In general, was a bit of a departure from there. There earlier two and then I think they sort of came back after that. I think that that record in general was quite poorly received. Okay, it was annoying and not big on it. Yeah, he I think he got into a fight with one of the band members. Okay, so he was. He was posting about it negatively. Is this are saying? You can't remember what it sounds like. Is this one more in line with that or more in line with the early stuff? To your closer to the earlier stuff? Right? So, yes, maybe that album was a misstep in their discography, because if this is, yeah, I think this sounds really cool. Alright, we're too. Next let's go for surreption and your, George. Your I'm going with your. So I've never heard of this band before. Yes, I listened to their last album, monument of the end, from and thought it was pretty good. It didn't absolutely stand out, but I gave it a couple of spins when it came out, thought it was cool and then saw the name when they put this one out and it was keen to check it out. Why? They sound like decapitated one set. It's a review of both the monument at the end and and your I think there are differences to be had, but that is the main if we've gone through yeah, weird and progy tech death, this is this is groovy tech death in the vein of decapitated, with the big ones and psychoptic things like that. Um, so you as the newcomer, how are you feeling about this one? It's it's it's good, it's fine, it's not. It's not breaking through the fine barrier. For me, they're clearly very good at their instruments. The playing is tight. I enjoy it well, it's on, but when it's done I don't really have a temptation to return to it. or It's struggling to differentiate itself from the rest of its sub genre, in my opinion. Yeah, I think that's where I've come to on it as well. I mean initially I was quite high on this, like when I first listened, I went yes, sick riffs, grooves, love it right the actual sound. It's really hard and I still think this is a good album but upon revisiting it it has just sort of fallen away in my estimation, mostly because it's just really say me, it's it's only twenty five minutes long, but it doesn't really go anywhere over those twenty five minutes. And the riffs are cool, but even within the songs they start with a riff and that riff never really varies. They're doing that same riff for the whole song and there's a couple like, yeah, when I was giving it a really close listen today, there's the song profit, which I think is like track three or four, sounds exactly the same as the first song, like even within the album, that the riffs are sounding pretty Simil...

...la Um and I've written whatever, the song click the wrong but what's it called? A story never told? Um Sort of just starts with the RIFF, chugs that riff for four minutes and then just fades out like it never goes anywhere, it builds to anything, and I feel like like that's a particular weaker moment on the album, but it's also sort of a like microcosm of the album itself. It's like cool, but it just does its thing and then it finishes and you're like okay, you know, you don't really feel like you've gone anywhere. You're back at the end of the album. You're in the same place you began. I think these guys are. I would say this is above the fine barrier for me. This is this is decent too, pretty good. They just need like something else to get them to the point of like your soycroptics and things. I did notice, like I gave some of the tracks off monument to the end the last album a quick listen by comparison as the same kind of vibe. But immediately the first couple of songs on monument of the end are way more dynamic. George seems to sit in the one midpace the entire album, whereas, yeah, monument the end has a lot more faster, slower sections, is a lot more dynamic tempo. Wise, the other difference I noticed going the other way is what they've added here are arched fire vocals. You didn't know the first song, the artificial north, starts off and he's doing that, which I'm noticing a lot of that sort of yes, scatter shot almost wrapping vocal that the dude from arch by does, which I've definitely noticed just in death metal, in tech death in general has like that's caught on. That's the thing people are playing with at the moment. That is definitely here. I don't know if that is the way forward, I think maybe, yeah, something else. Yeah, this is good, it's solid, but yeah, I think it lacks a bit of staying power. At the risk of wishing a tech death album was longer, this is half an hour longer, I think. Yeah, if they just developed the songs a bit more, and then they might have something. Yeah, a bit more, a bit more substantial. Yeah, agreed. Shall we move on then, to Extracrean and the hybrid suns? Right, so we were aware of these guys before because I came to them on their last album, which, do you know what that one was called? I had never listened to them before, okay, which I think came out of the last year or the year before. Yeah, male from, which I thought was there to debut, which may have been just because they signed to unique leader. I know the one before that was on unique leader as well. So I don't know why I've never, never heard of this band. I noticed them before Mailstrom took my attention and gave it a couple of lessons. Thought yeah, this is pretty cool. Didn't really stick with me at all. The same sort of thing, I guess, with sureruption. And there's the other one in animated existence, where it was a name recognition. I was like, Oh, yeah, the last one was pretty good and I checked this out. So you're coming to it fresh and I pretty much am as well. So it is executing anything for your color. Well, I do appreciate a band that spent wastes no time letting you know exactly what they do. How do you let someone know that you play tech? Well, you open your record with sweet picked up at light speed instantly. If we had we've had progue tech, we've had weird tech, we've had groove tech. This is Tech Tech. Is the tech death. Is Tech death out there? Yeah, so I feel like that the vocals have a bit of a death core tends to them, but the music is very much yes, tech, tech death, and they go hard and fast most of the time. And at first I felt like this was a slightly better version than in surruption, but it was still struggling to break through the fine barrier, but I'm I'm warming to this one and I think there are some more standout moments that grabbed me, like there's some cool Bass Solos at times. Burning sand is an absolute sucking banger in the middle of the record and yeah, I'm getting into this. I think I've had a very similar trajectory to you, because I think this came out a week after inanimated existence and your insurruption, but I think we got all the PROMOS for them around the same time. So these all came out and this was the one that I just sort of tossed aside. And when I took that that I was really listening to surruption and an animate existence, to the point where, yeah, every time I've gone to this I've just gone to have blasts and sweeps, which sort of reminds me of what's that movie that I don't like, stepbrothers with will will Ferrell and what's his name, which is a movie I really did not enjoy watching and have quoted almost every day since because of the thing about bunk beds having so much more room for activities, but also the song in there that boats and hors. This is Oh, blastsom sweeps, it's going on here. Yes, rest in peace to the drammer's limbs and the guitarists picking hand. Let's just say that. Yeah, so I wasn't really into this and I threw it on today after I left it for last, because I was like, yeah, I'm not not really into that one. I don't know, and I feel like I've been listening to a completely different album. This album fucking slaps so rid. This is good. This is a huge step up from the last one, I think. and Um, you were saying burnings hands the one for you. For me, watched hower. Watched hower is the ship. Yeah, this album is great. I don't know how why it didn't click with me, like I must have listened to it, like you said about inanimate existence, like yeah, half a dozen times and just never stood out. And then I'm listening today and every moment is jumping out and grabbing me by the throat. This is wicked. I have two sort of criticisms and complaints about one is production. This album is compressed to all hell, and normally that sort of thing I that doesn't bother me or I can't even hear it, but this one,...

I put it on, I'm just like, oh, everything is just just squashed. I don't know. So it's a little bit too clean as well, but I think I can get past that, given how good the songs are. The other one is, and I alluded to it before, there are female vocals in the song dying light, track two that are the psycroptic female vocals that they were doing on the last album. Like exactly, I'm wondering, is it that exact vocalist? I'm not sure, but it really is. Just psycroptic did this, so we're going to do this and it doesn't show up anywhere else on the album and it's just a really they don't really work in the song and they just show up. They're like what about this and it's like Nah, work for psycroptic, prop for you. So that just seemed like a bit of a failed experiment. But yeah, I was. I was blown away by this album today and watched our burning sand. These are these are good songs. Yeah, and I feel like they've got a bit of everything in there. There's melody, there's Groove, there's slam, you, you name it, there's something in there for you. If you're if you're remotely in detective. Yeah, and it's what like a final fantasy boss on the cover or something. I don't know if I love the cover but not the picture, just the like. I don't know why the writing is so little and then there's the empty space down the bottom and then something about the specialness of it is off. But yeah, sounds good. So I guess that just leaves US origin. That's it, chaos moss, chaos boss. Yes, so I actually haven't listened to much origin before, surprisingly, any origin before, barely, and I just sort of wrote them off maybe five years ago and I was like that's that's not the band for me. But very surface level, what about you? I'm not like a huge origin fan, but I do like them. Um, I came to them with just like their fourth album, third or fourth album, antithesis in two thousand and eight, which is still like a benchmark album. Like it's not one of my favorites, but it is just what is the most brutal, abrasive thing you have ever heard, and like that is like if I want to freak out the squares, I'm throwing on antithesis because it is just straight up just the fastest picking and the fastest blasting nonstop. They do not vary it. It's just flat out onto the medal of the entire time. It's good. Yeah, I don't know if it's. It's the heaviest album but maybe the most brutal. But that in the Constellation, the black widow by Annath rack at the two, where I'm like that is that's a lot. And then the album after that, entity where they sort of took that style but just like added in and get ready for this variation. But a group they decided like we don't have to go full speed all the time, and I think that album is an absolute genre classic. That album sick. That's what I went to Celegia on it, which is their big song that just owns. It's got swarm. So I really liked that album. But then since then they put out a few. There was omnipresent in which people were raving about when it came out and just did absolutely nothing for me and maybe if I go back to it I'd like it. But just completely bounced off that one. And then they had an unparalleled universe from seen that. I didn't hear anyone even mentioned when it came out. It just sort of came and went with without much fanfare. Early. Origin is good, but I really don't feel the need to go back to it when antithesis and entity exists. Like origin, I don't think are a band where I need to listen to everything they've ever done. It's a lot, it's intense and it's all sort of all of the same mold. So it's those stand doubts, antithesis and entity that really stick out to me. So I wasn't wasn't that, you know, excited for a new origin album, but do you want me to go first or take it away? I think this is a good one. CHAOSMAS. What it does is I think it stands apart from the rest of origins discography. This is a very different sounding album to them. They've brought in a lot of yeah, brutal, sort of slamming death metal. They've they've got the snare, but I think the tone is better. I don't think it's as good as entity or antithesis, but it gives me another reason to listen to an origin album. If I want something more brutal death metal leaning, I would go to this. Um, yeah, I think it's really good and I think you're judging by your kgness and smirk that's going on. I think you might agree. What it does is it sucking rips. Josh, it's just sick. It's pretty good. So the like it's it's it's like a death grind record. Really. It oscillates between, yes, blasting like you wouldn't believe, or just griven the funk out sweeps. And the touch point for me here is the last revocation album. They had a song that which consumes all things and that album as a whole I thought was cool, but that track I fucking loved, like that was my favorite. That was one of my favorite songs of the whole year and they had like this little breakdown kind of riff in the middle of it or like a couple of minutes in, or it's like Bom, Bom, etcetera, and I feel like origin have taken that riff and made it of this album and it's so fucking good. Yeah, I've got a couple of things to build up what you said. That that thing that they've taken, I don't know if they've taken it so much from revocation as they've taken it from Selgia, their their classic song. That thing you've just that slow contrasted with the like really fast double kick. That is what that song is built around and it's taken them like three albums to go. You know that song? Well, just do that. The first two songs on this album I've written down. This is sa two, this is selegia three. It was like yeah, we got, we got, not known. Full of slid has...

...been known, with multiple sledges in there. And Yeah, the other thing you were saying death grind. I've written decolonizer, which award for the greatest song title ever, which I think is the standout track from this album, which is buried pretty deep in the track list. But I've written this sounds like dying fetus and I think the dying fetus album reigns supreme from two, which I think is their best album, which they go the other way. They from from death grind into more of a tech death angle with that album, whereas I think origin those albums are intersecting from different directions. Um, so if you like dying fetus and yeah, sort of more modern, techier dying fetus, I think definitely check this album out. My one complaint about this album is that the last track does not need to be there, which is it's an eleven minute song. Yeah, it's just called heat death. It doesn't really go anywhere and it feels like, rather than writing a song and being like Oh, this song needs to be eleven minutes, they have been like let's write an eleven minute song and it just sort of waffles on. And then nostalgia for oblivion, which my note for that is, Oh yeah, the chunk riffum. But that song like ends. That's sort of like ends in this sort of breakdown, e. not a hardcore breakdown, but like the music is sort of collapsing in on itself and it sort of feels like a really natural end to the album. And then there's just like ten minutes of waffle afterwards. That then goes into a weird instrumental with water bubbling at the end. I think you could cut that song like even make it it's own ap where you actually like develop it into a like a long, brutal tech that song. I think that premise is interesting. Yeah, I don't think this is as strong as as entity. Definitely I recommend going back and checking that out if you're viving with this. But yeah, it's got its own identity and I'm enjoying this. I've been coming back to it a lot more than even old origin albums that I like, just because it has that brutal death sort of personality to it. Sweet. Probably the last thing I would say is that this is an example where the production is not the type of production that I usually like. It's mighty a Gritty Aurora, but it definitely suits the vibe they're going for and I still enjoy a regardless. So that that is your favorite of the five tech that headline as we've gone for, yes, by a long way, it seems. Are you would beg on exracrine as well. You know, I did like execrene. Two origins clearly ahead, but they're both good. Yeah, I still think okay, because the best tech death album of the year is origin, challenging that fear Um. I think. I think it's still okake er. Yeah, I think I need a bit more time with extra Cran just for whatever reason. But now you make them rethink I'm like Nah de Colonizer, although going into this I probably would have said yeah, in animated existence is the one that's really jumping out for me. Whether it's the best, I think it might be the most interesting, but yeah, that's a good collection of tech death that came out last month, along with those through them in at the last minute a couple of relevant supports because we had rings of Satin dropped a self titled Ep, like Surprise, released it in the last week of June. You any interest in rings of Satin at all? Not Really. No. I'm assuming people listening to know who rings of Satina, but if you don't, they're the tech death band that sound like a pinball machine and maybe can or cannot play their instruments, but who really cares? Yeah, they were a bit of a like we'd say a Mimi Band now, like a trendy band among death core circles and things. I wrote them off initially, but then I really liked the album loogal key en, which is just like insane. So I like that and then since then they've sort of slowed things down. I haven't been that interested. This one's weird. This is an instrumental half hour long EP that sounds like like chip tune stuff, like none of it sounds like real instruments, which I think is kind of interesting. And that like their whole thing is we can't play our instruments. It's all. So they've lent into that, which I'm totally fine with if they just want to go hit them insane ship that we've composed rather than played. So yeah, it's got like a like a super nintendo kind of sound to it and it's like brutal tech death done in chip tune sounds, but with occasional like trap interludes and not like good or interesting ones, not like ones where it's like, Oh, and then it goes into this tractor. It'll just sort of they'll just be a trap bit for like ten minutes and then I go back to blasting. So it's not I don't think it's very good, but it is kind of interesting. It does feel like just a thing that they've just been doing, maybe in lockdown or whatever, just to play around with and they've put it out. But I think it's like the more they lean into that weird, like robotic way that the more I think I'm interested in them rather than than trying to be a genuine tech that band. The other one that I threw in here at the last minute is an album called which den, spelled with two vs, so that's for Vich den by the band called the million dawn who had never heard of. I think they had some previous albums, but I think it was Trent and calder. We're raving about this and put it up for the best albums of the first half of the year voting that we're doing at the moment and things. It's cool. I don't think it's as good as maybe any of the albums that we've covered today, but the interesting spin they give on it is there's sort of a hardcore vibe to it where they're's it's got sort of like a proggie space, like yes, sci Fi tech death sort of vibe to it, and then like the vocal was just going and then they're like go into like not quite a breakdown but sort of like a slow, yeah, like a snapping sort of tempo change, and I think if they lent into that a bit more, be it might be interesting. Here it's just sort of bits and pieces where it's like all the idea of something's there, but I don't know if they're fully built on it. But yeah, maybe want to keep an eye on that. I will talk more with Trent about next time. So...

...that is all the tech death. Should we get into some more subdued special guests. Yeah, so why then, you choose the order? This time we've gone with let's go with dragged under first, animals, upright animals by dragged under and Alma, was very much looking forward to among my most anticipated albums of the year, because dragged under are a relatively new band who put their debut the world is in your way out in and I fucking loved that album. So for people unfamiliar, this is sort of like there are a pop punk band, but like a mix between pop punk and I'd say on that album they were foremost a melodic hardcore band with pop punk elements, and maybe that balance has shifted on this one. Big Melodies but a lot more edge and aggression to them compared to bands. You think about that and the world is in your way. Not only did I really like it, it was a, I think, a very important album for me at the time it came out, not in the history of music but just in my personal experience. I was going through a big funk around that time, around the last off of twenty nineteen, where I was really sort of nothing in music was really grabbing me the way it normally did, and there were two things that sort of brought me back in, not that I was ever fully out, but reignited by my passion rather than my interest. One was going to the good things festival, which was I I was in Brisbane. Actually, my my now ex partner had a conference there that she was at for a week and I said, well, why didn't I go with you and we'll hang out in the Gold Coast? I wanted to go to movie world, which I did twice, once while she was because we got the three park superpass, so you get out three and then you get one bonus. So one day while she was at the conference, I just went to movie world by herself. coasters. It was sick Um. But then I had I had another day where she was at the conference and I didn't have anything to do and it lined up with the good things festival was on in Brisbane. So I took I think it was like a to two or three hour public transport, like train and bus ride from where we were staying in the Gold Coast up to Brisbane. I did the last second. I was like, I don't know, it's far away. I'm like I got nothing else to do. Bord a ticket the night before. Took a two hour train it and saw it was trivium carnival, but is murder. That was Triviam on cinema sentence as well, which was fun. Bad religion played, which I didn't realize how like they were when I walked past a bunch and which was like I know this song, I know this song. Uh, and then headline to data. Remember they were all right, but yeah, parkway drive headline that, and parkway driver a band who were very specially important to me, so seeing them headline of festival was just really cool. So that really got me back in. And then the world is in your way, as we're talking about dragged under, remember, but that dropped like in the first couple of weeks and just I had it on repeat for like a month. Just really brought me back into like, Oh yeah, music can be fun. Like I put the words in your way on. I'm like, I feel good now, I'm having a good time, loving it, and I think it ended up being in my top five that year. So I don't think that album was as pivotal for you as it was for me, but you enjoyed it, I believe. I think I heard of it through you raving on about it all the time and doing that. And Yeah, I echo a lot of your thoughts. It's just really fun, really catchy and it made my I think I had it thirteenth in my album of the year list, so not my usual genres of choice. But yeah, it's a great record. It's upright animals a great record. Where do you think I'm asking you? I asked first. Well, at first I was quite disappointed and I felt like upright animals was bland and generic and lacking a lot of the energy that I loved so much with the world is in your way. But the more I listened to it, the more I'm starting to flip their opinion. There are just a few choruses here and there that were dragging me back in make saying all right, give it another go, give it another go, and yeah, on each listen I'm enjoying it more and more. I still then enjoyed as much as the previous one, but it's getting there. Yeah, no, the answer is no, this is not a great album, but it's all right, it's it's decent. I think I think I've had yeah again, the same sort of tractor. The first time I listened this did not like it. I was like Oh this isn't isn't what I wanted because, as I latently alluded to earlier, here it's flipped. They are now a pop punk band with occasional melodic hardcore bitts. The big touch points for the world was in your way. I mean some forty one where they're being thrashy their tooth when they're at their heaviest. I heard a lot of like let live and every time I die in there as well, and like even a bit of new metal, some like raging its the machine style riffing. A lot of that here is really pulled back to accentuate the pop punk elements. And like maybe it's just a taste thing. I think they're way better at being an aggressive band with choruses than they are at being a pop punk band with occasional aggressive bits. The worst parts of this album is when they go full pop punk. So I think there's a song never enough, which is the one where they're like you tell me to grow up, but I'll never grow up and I'm not going to grow up and all of that. And Yeah, my note for that is I'll grow up. It's it's really it's just like you're better than this. Any pop band could have written that song. They didn't need to, so I didn't like that. There's another one later on as well. Yeah, no place, which is like the Oh, I hate my hometown pop punk song again. I...

...think they just they didn't need to do that. And I think the last song, this is the end, is quite terrible and those are the three moments where they really lean into the pop punk stuff. And what they're lean into on, this is the end, is the woes, because you notice the imagined dragon style woes all over this album. The first album there is a song called supper which to me sounds like their attempt to make Chelsea part two, which Chelsea was the big sing along standout from the from the first album. I think suffer is an okay song, but yeah, there's a lot of moments on here where it feels a bit cynical, it feels a bit, yeah, manufactured, rather than the first album just found, like felt like this just quick blast of just passion and energy. I mean I agree that there's bits about it that sort of catch me and I go okay, I want to go back to that. I think the first well know that the first single they released from and I think was all of us, which I think is why far the best song on the album and that's the only one that I think really matches the energy of the earlier stuff. But I think they released that even as just a like a standalone single before they announced it. The second song they released when they announced the album was brainwashed broadcast, which has become one of my favorite songs on the album. But this this sort of speaks to another thing about there. There are some very generic, meaningless lyrics all over this like well, I mean the song is called brainwash broadcast, so they're just like yeah, let's tune into the brainwash broadcast and we're all sheep and all of that, and it's it's definitely a song that that could be talking about Fox News or it could be talking about whatever, and M MSNBC or whatever. It's a very generic like we're angry at the man, but we're not actually saying anything pointed. Um, I think that song is quite good. That's it has grown on me. Bencer from under oath shows up and lends it a bit of grit towards it, and he's been getting around lately. He's on. There's a new song by sleeping with sirens them. I had no interest in sleeping with sirens, but I checked out that song. It's like a duet back and forth between like he he sings through the whole song. He's like a second vocalist on it and it's way heavier and it it kind of works. So I'm may be interested to check that album out next month for an uncool people section, but you won't be here, so you don't have to worry about it. But the other the other one that stood out to me in relation to that was long live the king, which is like the man and long of the king and I'm under your oppression, man. It's like you could be singing about anyone and I think that's what they're going for. But that again speaks to the sort of manufactured vibe of this there's things written here where they don't seem to be coming from a personal place. They're just things for the maximum amount of people to yell along with at a festival. But in that sense I think this works. There's probably, yeah, three or four songs here that I take and throw in with the stuff from the first album and you've got stuff a pretty rock solid. Yeah, festival sets are interested to see where they go, but I would like them to bring back a bit more of the intensity on that on the next album. Are Cool. What's next? What's next? I'm in charge and I sure I want to go to lead from within with their that I don't know what it's called. Shrine. Shrine. It's that really, really called shrine? That is a terrible album title. Yeah, you're right, but shrine. There's not even a song on it called shrine. What is it called? Shrine? Just looking at the songs youth to find it would be a better album title and none of these a good album song titles. I'm just looking through it anyway. Lead from within a bandit of sort of raised their profile quite a bit over their last few releases. They've been around for a while. I'm sort of aware of them in the early days of their career and listened to them and went yeah, they just seemed like a lesser version of the medical thing that I'm into. But then I think you and I were both very big on their what is the year yes error from which I loved yes Um. So I was big on that album, which the elevator pitch on. That one, for me, was what if architects played thrash metal, I think it was pretty pretty wicked. Then we had fracture, from which I reviewed for the site and I didn't write down specifically what I wrote about it, but an album that seems to have been better received and more popular received than error, but I was not as big on it. I think that the first two and the last two songs were wicked and everything in between sort of mushed together, and I had a big problem with the production, where it was concuctive to the point of listening to it gave me a literal headache. Yeah, and then they actually just there's too much going on in these songs. They it wasn't. They weren't as define mind as the stuff on era, although, having said that, songs like the end of all we know and Utopia just those are some of the best songs they've ever written. So looking forward to shrine. So my background was pretty similar. Ere was the first time I had come across them. Thought it was sick. Fracture I also enjoyed, but not to the not to the same extent. It was past the fine barrier. It was good, but not not making my list, whereas hero was right up there. I don't think I made my list for that year either, and I kept expecting to go back to it and have it grow on me and I just didn't. Um, but I was looking forward to this one. So what do you think of this one? Well, when we were putting this together and we first started listening to the albums, you messaged me and said, is this played for within our many good and I don't know the answer to that. It's all right, yeah, yeah, it's okay. If I was bleed from within, I would be very annoyed at me for what I'm about to say, because, having come off fracturing, gone, this is well, this is way too much. Settle Down,...

...beavers to come to shrine. This isn't enough. There's not enough going on on this album, and they'd be like, well, what do you want? We were too hard, you say, we're going to now. This one is not enough, and the answer is error. Just do error again, like that was that was perfect. Yeah, just so that you can criticize them and say there's not enough variation. We've heard this before. I'll take her apart two. That's one kind of is. I mean this definitely pulls back from like there are moments on fracture that we're bordering on extreme metal. I think the last song a depth that no one dares ends with like this big, like Abrasive, black metal sounding Tremolo and screech thing. There's nothing like that on here. This sounds okay. So here's every song on Trine. You've got an architect's riff, got a parkway drive style verse and you've got a while she sleepstyle chorus, repeat, and that is shrine. There's the twelve tracks on shrine besides sky, which is a minute long intro to stand down for no risk. I don't think it ever doesn't work. I don't think it doesn't work. I mean I'm ranting here. You are you, you're not going along. You're on the same page. I'm on the same page, I think. I think I do enjoy this one more than I a fracture. Okay, but it is still not as good as error. And so again it's it's past the fine barrier, but I'm not sure. I can't really get a gauge on how far past the fine barrier is. It okay, I think this one is sitting pretty firmly on my fine barrier. I mean I definitely think this is a weaker album than BRAC. Like yeah, there's nothing on here anywhere close to the end of all we know as as just a big song of that combination of architects, Parkway and while she sleeps. I think they're pretty good at the architects park like we were saying. I was saying that Earra sounds like architects playing thrash battle. I think there's still that vibe here. I was kind of disappointed that Josh Middleton from solosis when he joined architects, didn't really bring anything to the sound. It seems like he's really more of a hired gun, although, having said that, maybe he just he already has solosis, so he doesn't need to play thrash Montel where he's an architects so whereas here this does sound closer to me of like what he might sound like if if he were in architects. If you put that on preeper, I mean the first song, I am damnation. The main riff sounds like animals. have to go back to it, but that style of riffs are much like with the drag under ing. It's sort of I'm looking at this going like you are just getting the big metal core bands and mushing them together, and when it works I think it's great. But yeah, where I think they fall down is on the welshy sleep side of things. I don't think the chorus is on this are big or good enough or catchy enough. Yeah, there the riffs hit really hard, some of the verses if they get you going, and then it hits the chorus and it feels like it just the energy drops away. There's one song, what's the one with the big choir levitate? Everything about that song is awesome except the chorus, which is this big, like very architects sounding, with the symphony behind it and everything floaty, architects chorus that would have been on the last album and that just sounds really cheesy to me. But then around it is there like sick thrashy riffs. There's a really awesome melodic solo and there's a massive breakdown at the end with all these pinch harmonics through it. But yeah, then the chorus comes in and just kind of pulls that out. And I think for the most part the stuff in the first half is pretty decent. The first like three or four or five songs, but then the second it's like they have that instrumental in the middle and then they just repeat and there's sort of like lesser versions of those earlier songs all through out the last part of the album. Have you seen the video for the track stand down? Doing this podcast is also telling me how much attention I pay to videos, so I didn't think it was the thing I did, but I'm always going to be seen that video. The video for standown is them playing in a circle and there's like riot police and they're angry at the riot police and they're they're rocking at them, but it's like one riot guy and he just stands there and he doesn't do anything. So you know, there's the foo fighters video that pretended where's the wall of cops and they all and they stalk this there's just one dude. These five like an entire band with equipment ship and he's just there like one guy holding up as the little shield. And then they don't fight at the end. I kept waiting for when we get a breakdown and they're all going to pile on this guy. No, they just sort of it just ends and I feel like that is, yeah, a microcosm for for the album. itself. Like I'm looking at the video now and there seems to be half a dozen police guys. It's not a wall. I'm saying. I don't know. At the end I think there's like one guy walks up. Whatever. What I'm getting at is I think this is this album is a bit of a bark over by. Yeah, it is growing on me. The more I go back to it, I'm like, Oh, yeah, okay, I think maybe yes, I'm more of a fan of error than I am. I've led from within. That's probably now. Those two bands albums were where bands you liked, but we're primarily things I was looking forward to more so I think we're now switched gears, because I think we're going to go to Thorn Hill with heroin. Now Thorn Hill and one of those bands, like semi proggy metal core band from Australia. They're sort of a crossover with the OS prog movement. They're one of those bands like North Lane, and maybe this is more because was where in the middle of it. We come from Melbourne, Australia, where all these bands are from, but it seems like these bands are everywhere. They're like a diamond dozen or whatever. And it is an absolute crapshoot, like which one's breakthrough and which ones don't. Like I don't understand why North Lane and why Thorn Hill are bigger than all the other ones that. I don't get it, but they are. North W have been around for a while. Thorn Hill broke through. This is their second album, I believe. Yes, and do you know what their first album was called? The Dark Pool? The dark pool which I believe...

Eden was really big on, which surprised me because it definitely leans more in that that metal core and Gent Maine than the proggy stuff. But you you also said you were you like that album. Yeah, if it was one of the better gent metalcore records of that year for me, and I think the vocalist has had an interesting voice, a bit different to, I guess, what the usual fair and the music was good, so I was into it. And then that album was like pretty big for a given value of big, like within circles that pay attention to genty proggy metal core. I saw that album everywhere. I'm like end of your listen things. I listened to it and thought it was all right, but again didn't didn't understand why they were the breakthrough right. And whereas I was back rating about that, the city of band that you and e told me Crap, actually and I'm like, but I like this one anyway. All that is sort of beside the point because we're here with heroin in two thousand and twenty two and this May as well be a completely different band. And that band is called deaf tons. This is a deaf tones album that sounds like death tones. UHHH UM, do you like it? This is another style that I usually listen to. If I do feel like this style, I'm just going to listen to death tones, not death tones light, and I at first I agreed that it sounded nothing like their past stuff, but then when I listened more closely, there are songs where musically it's quite similar to a dark pool. But the vocals have definitely aped Tino Marino the entire way through Um and I think that and makes it feel more different than perhaps it actually is. But yeah, it's like it's fine, but it's it's not doing a huge amount for me this one, because you're saying at the vocals of the thing that really draw that comparison. The vocals or the thing that stood out about the first album that sort of set them apart from that Gent metal core realm. So I'm not really sure. Yeah, why they've got in instruction. It seems to be working for them again. I'm seeing this album get rave reviews. I've seen it everywhere. It seems to be working for them. But, as you said, I'd rather just listen to deaf tones. And it is interesting because you know, lots of bands are influenced by by deaf tones. This is strange because I think it's very specifically influenced by Saturday at wrist, which is generally considered one of, if not the worst Def tones album that no one really talks about. It sounds a lot like that and a lot like coiner rrikan, and so sort of that those three albums from. If you put diamond eyes in the middle there, which is not the aspect of deaf tones, you you really hear influence people. So that sort of sets it apart. But I don't think I like this as much as Saturday and night rist which, no Gore is my least favorite death tones album. But stay not risk just by default is probably among the weaker ones and I definitely prefer that to this. I probably yeah, I prefer Gore. I think Gore's an album I really don't like. There's a really quite nasty review I wrote about it floating out there, out there, that it was probably a bit harsh, but I think even that just has more interesting moments on it. What is the point of this album, man? Like I just imagine whoever, whoever the singer, is walking into the studio when they're jamming. He's like, Hey, guys, I just heard this bare. Have you heard of this band called death turns? And everyone's like what, Whoa? And then he busts out a copy of Saturday and our rist and he's like checking out, and it has to be a copy of Saturday and Nart risk, because if you'd heard other death tones album, they that off like at risk, when you could whip off White Pony worked for Lincoln Park. Having said that, I think it gets more interesting and better in the second half when it moves away from that death tone sound a bit more. There's a song called Casanova which is a bit heavier. It's got more and this is sort of a backhanded compliment, because it's gonna sound it sounds more like loath. But my big criticism of loath is. They just sound like death tones, but I guess that's moving into that that heavier, bouncy art. It's got more of a middle coal vibe to it. Is that? And then there's a there's another song at the end of the day. Raw rules really cool because we hit raw and they go fully. Tom Broker at the start of raw sounds like gum shield does. It also sounds like that ocean grove album that I keep telling you listen to that. What did you think of rhapsody tapes? Yeah, I thought it was cool. I didn't fall in love with it. But cool barrier, is that just that one above the fine barrier? That's your back up. Okay, something gets through the fine barrier, it's gonna get get through the cool barrier. Yeah. So there's some interesting stuff at the end, but they're really they're really runtload that that death ton stuff and then we get to varsity hearts and it's like Oh yeah, but back to death tones. Okay. The other thing that I think is just stopping it from being like Oh, I like deft tones, so I like this is the thing they do mix with death tones is the radiohead whale and I cannot stand the radiohead whale. I haven't listened to enough radiohead to know. So I think Valentine is the Song I've written down a is the key example of it. But it's just that Mumbly, very cool and I hate that. So you're going to add something to Def terrence, I would. I mean for a lot of people I think meets deft tone. Sounds like, yeah, wet dream, but I would prefer we keep not cool enough for that. People away. I've tried with radiohead and I don't get it. But don't get it. Okay. Well, that that seemed like a bit of a bummer because we were mixed on the first two. We were pretty pretty down on that one. So let's keep the bummer train rolling with Billy Howard all and what normal was, because before we even get into into what this album sounds like or anything, this is this is a sad album. The vibes on this man, this is a bummer of...

...a record. We're talking about what normal was and we the first solo record from a perfect circle. Guitarist, main man, but maybe the second one if we count the band. That was mostly just to him. Anyway. Yeah, we'll say it's the second. What's that band called? I always think it's a spoke, but that's the scenic guys, ashes divide, which, speaking of cool people, so we did the playlist swap a while back and I discovered this really cool band called ashes divide and I was going to put him on the playlist swap that I did with you and blow your mind and we're like hey, get a load of this, and I heard of these guys and then you were about like Oh, yeah, cool, this is the only one I had heard of. I really like it. I'm glad Josh checked it out. Like, Damn you, Calo, way do you insist on being cooler than me? But that ashes divided on which is essentially a billy Howard all Solum, I really liked it. You really liked it. Was Good. Yeah, it's so good, one of my favorite rock albums. Oh, I don't know if I'd go that far, but yeah, I was impressed. For me, a perfect circle. I am a big fan of at least their their first two albums, murder norms and third step, are they would be in my my top thirty, top fifty albums, big like sort of formative albums when I was growing up and just developing my own taste. Love those. It wasn't big on eat the elephant. That was the last one year, except for buy and down, which is easily the best song on the album. But then you like the rest of it, except for buying down. Was that correct? Something like that? Yeah, something like that. So that's how that's how Billy Howard Al Wibes. As I've alluded to, this is a very different sounding album. It is gone much of the rock vibes and instead we have all the Synth synth wave, synth rock over Billy Howard all style was an interesting comparison and I definitely see that now you mentioned it. Yeah, that their new stuff. I mean it's that that post punk thing that is everywhere at the moment. You've again, you've outcalled me, because all it is a very cool reference to go whereever and down is. Last year, out of nowhere, seemingly, there was a one off concert in the UK. It was the smiths fronted by Rick Astley, which retrospective nomine impossible winner of the who asked for this award. By all reports, lots of people went and said it was real good and seeing it was a fun night those songs are good. Morrissey wasn't there. So when that's what this this album, sounds like, Rick Actley want to be singing Smith's covers. I don't like this color. So so disappointed. I think this album is great. I really like it. I thought you might like it. I did initially feel like it was one pace and seeing me so your face is telling me that you're thinking very much Um and whilst I have come around and I am enjoying it, I do think some added variety wouldn't have gone a straight here and it could use with a bit more energy at times. But I really like the vibe that he's going for and I feel like synth rock type stuff, or think all of a bit more guitar in there, then check it out. The characterization of this as Synth Rock. I don't think there's much rock in here. I don't think there's I don't hear any old rock guitars. Almost this is closer to to synth pop or just straight up a new wave. To me, a new wave is fair, but I think whilst the sins are the dominant instrument, there is still a fair bit of guitar in there. Like it may not be. I mean rocket is even a bit of an ambiguous term. That isn't it doesn't it may not be rocking, but just elements. Yeah, for me I would categorize this year closer closer to a new wave of electronic sort of stuff. I mean, the only time I think poison flowers, I worte down. There's a section in the middle that kind of sounds a perfect circle ish, and that's the only time that really jumped out to me, but it was because of the electronics, like it reminded me of eat the elephant rather than the other stuff. I mean, I haven't actually been back to ashes divide to see like how much of a continuation there is between these alments, but it just feels like not much a different world. Yeah, it's basically he's done a hill. Yeah, yeah, and whilst I would say it has not worked for Thornhill has worked for Billy in my opinion. Well, the other reason I wanted to push back because you're like if you want more of this, this sound is everywhere at the moment. So many bands are doing this sound and this I'm very over this, like I don't think anyone's really doing anything interesting with it in terms of like blending it with rock or anything, and I certainly don't think this is. The comparison is really interesting, but this isn't. I don't think this is anywhere near as good as those last two over albums, and I didn't really love the last one. But the Julius Caesar one is like miles above this. Yeah, I don't know. Okay, that is my opinion. I wasn't as big on the Julius Caesar One. There's a lot of others. I probably do prefer it to this, but it's not a massive gap for me, and that the other reference point I wrote down here. Apart from that, the brief moment that reminds me of perfect circle is the song, I think it's called follower. Follower reminded me of mid period Paradise Loft, which I quite like, but the album host by paradise lost, which is seen as their like disgraceful album where they went since pop twenty years before all the extreme metal bands that they go up with started doing the same thing.

Yes, secretly the most influential album of the last like three or four years. But, like I mean, deaf having to do in this crap, it's way more interesting and better executed than this. You're right about that. I think the variation, the plotting, like I think I wrote in terms of surreption down or I could go with a tempo change, and I feel the same with this. It's just that plod until you get to the penultimate track, which I've just got written here because I've got the promo files. It's just called XP, is it? I don't know, whatever track nine is changes it up, but it goes into like weird, like almost like new age flowery chance stuff, and I was like, Oh, I don't know if. I don't know if I wanted this change. And then it fades out and feels like a pretty like natural end for the record. And then we get this song stars. Now Stars Carl Stars has the Halloween theme. That makes it happy. Do you know what I'm talking about you, because I'm sure talking this album you really like and I'm trying to listen to it it to refresh my memory. Stars, do do, do, do, do, do, do do. That's the Halloween theme. But then he puts like a major key after a major note after it makes it sound uplifting. Yeah, I could take a leave of that one. I would definitely have left stars. I think that is along with that northland song about turning into a battery. Um, I think stars and battery and Allison chains are going to haunt you this whole year. Yes, I still haven't gotten over it, have you? Have you heard the new Greg presciato album? Speaking of people who have done this sound better. I haven't. I want to check it out. I've done that thing where I rearranged the track list, but now I can't stop listening to it and I listen to it four times in one day. It's very good, but the connection there is sounds like this and it sounds like allison chains. They are the two modes it has. So yeah, it's that I love. Yeah, but yes, I was a beautiful mistake. Is The song that, I think, just breaks me. When I get to that at track five, I'm like, Oh, come on, so that stars in the battery Song. I think the most suffering I've had to do for this podcast so far maybe that blood incantation album. Rather a negative round up, at least from my end. On the Special Guest Front, here, color can go check out really how I wants. Let's flip the tables, because we are. Tables are turning. There's a very special episode of the Heavy Block Ruby pod and we have a very special cool slash uncool people time with care here in Cambras vaxus seventeen, the Waking Mirror mind world, whatever the funk. It's called the new careed and Caberra album with its end his game movie poster. Asked album. Mark, you have said before you are not a big Co ed and Caberra Fan. You don't like his voice. That's right, that's at the beginning and end of it. Pretty much like musically, I've always thought they were pretty cool, but there was just something about his voice that put me off. I think I tried an album maybe four or five years ago, and a few songs here and there from their back catalog before prior to that, and yeah, nothing, nothing had really resonated for me. So I had written this off as a band that is not for me and don't bother listening to them. Until you came along and forced me to listen to it. I have you tried to get away. You you had to take the week off and you went back in time and made a dull by all the vinyl. But I wasn't letting you get off this because the story of me, until the new great appreciator album came along and gave it some repeat, is the story of me falling back so hard in love with coheed and Cambria, because I was a semi large coheed and Cambria fan from about the mid period where, you know, they became propier and ever unlikes them with the good Apollo records and things. But where I differ from the coheed and Cambria Canon is that I fucking love year of the Black Rainbow, which is the album they followed up their big records from. That is seen as some that's the host to make the paradise last comparison of their catalog. That's when they they signed to a major label, they got a new drummer and they put out this basic rock record. They weren't cool anymore and this is one of those albums where I listened to it and I'm like, why am I not meant to like this? And it's like, Oh, well, the songs are they're shorter and they're tighter and they're they've got like techier drums and heavier riffs and more rock and choruses, and I'm like, Uh Huh. So I love I love you're of the Black Rainbow, and I really love the Afterman, the first afterman album they put after that. But then, yeah, sort of off the band because I didn't really like the second afterman album and then they did the album that was not a co Ed and Caberra album, that didn't have their big weird story color before the sun, that was like an acoustic pop rock album. Did Not care for that, and then they made my introduction. Yeah, well, that that is understandable, because not only is I don't think that's very good, there are people who like that album, but it is not representative at all of their sound. More representative of the sound is the album, the first vaxus album, over which they are apparently like seven or nine planned or something. Who fucking I've tried so hard. I've I've tried to read the comics, I've tried to look up online like summaries of the story and started listening to a podcast that goes through his track by track and explains the story of the songs. And I had to bail because I went in on the year of the Black Rainbow Songs, because I'm like they're the ones I like and these guys they'll get it. They'll be like yeah, these songs are good. They just ship talked all my favorite songs and said they were awful. So I rage quit that. The point is that none of it makes any sense and it all sounds dumb and boring. But they made a return to their big sci fi prop thing with the first factus album, unheavenly creatures from twenty eighteen, which has like...

...like the dragged under ELM, has like three or four really good songs on it. Problem with this album, color, is it is fifteen songs long and it's like an hour and twenty. It's it's so long, of like coheed Prague. So I was not at all excited for Vaccus to when it came around, because I did not want any more of that ship. What they've done with access to is they've cut like a third of the album length. This one is only fifteen minutes, which that sounds long. That's twice the length of the surruption album or whatever, but it's like the last code album and they've just packed it full of bangers. They got the BANGERS and they put them in the banger funnel and they just stomped it down. This is a completely different sounding album to the first one. Carlo, this is one of the best albums of the year. I fucking love it. I can't stop listening to it. It's so good. Okay, we've got that off my chest. The cool thing about this for me is like every song almost has like its own different genre that they're doing. Like there's a big stadium rock song, there's like a club song, there's some pop punk songs, there's just they on wild and it's sick, and I will talk more about that, but I need to know is this. Is this rock in your socks? Are they on? Did they get rocked off? Are you wearing socks? And I can confirm my I'm wearing socks right now. bleak. So you did force me to listen to this and I was wondering why you would do that, and then I realized that you would do that because this album is sucking, sick, so full of beggars. Let's let's get out of the way. How good is bad man? Is Badman the Best Song of twenty two? Hang on, let me really listen to it. quickly, the one that is the auto tune shaft theme about Darth Vader. I don't know about the best song. It's good. It's so good for two reasons. One, as I said, it is a it is like an auto tune seventies club banger about being a Badass, except that Badass is like a space Lord. So it's like who sings songs about being cooling clubs? It's like it's like a pitball for a reason. Yeah, we're not cool enough. Point I was going to say Chris Brown is the thing and then I was like, Oh, not Chris Brown, but then also maybe Chris Brown, because yes, the one asterix next to Coeden embryo is he's not great about his depictions of women and he likes to all these characters sort of end up killing their girlfriends, who get fringed and all this stuff, and there's a lot of stuff about that. So when there was a song called bad man, he was like, Oh, I'm a bad man because I have a song called Iron Fist that's about a guy like punching his girlfriend in the face, which like, I think he's meant to be the villain, but it's literally just a song describing an assault. So when I was like yeah, bad man, I was like wait a minute, especially when it does have that like sort of crisp round vibe. So I went in and checked out. Looks No, it's just it's just what if Darth fader was wrapping? It's so sick. The other reason, well, a bad man is the best song of two is the fucking dolphin noise. That's the best musical moment. You did you do know what I'm talking about. So it's at the start. It's like at the end of the second chorus, or it comes out of the chorus and it fades down. It goes into the verse and he's all crew and he's like, Oh, that here, it's me, your mother, and then in the background there's just a fucking dolphin noise. It just goes it's like it's alters up, calm, calm, so good. Um. I thought you might like this because it's full of bankers, but also you were saying the thing like about his voice. His voice sounds completely different here than it does on the old stuff. I couldn't tell if my tastes had changed or if he sounded different. I haven't listened to any of the earlier stuff because, yeah, his voice doesn't bother me at all here. You know, I have an exceptional to our long best of code and Cambria playlist that I can I can send you away if you want, but there are none the other stuff. He does go into that higher like it's more emo on pop pug influence. So there's a couple of reasons why I think this is different. Is One is I think they've they're leaning more towards like a harder rock sound on their modern stuff. So just the way he's singing is different. Age like his voice may have just deepened. But also, yeah, there's a lot of auto tune on this album and I think it really works. I think it accentuates things. It's fucking great. I'm so happy you like this. This and crash diet. I'm having a good year. Um. There any any other standouts for you? I say other standouts. Bad Man was the standout for me. What's what's dropping out to you about this? I haven't listened enough to pull out many individual tracks. One one that has does come to mind is a disappearing act the versus or sort of the pre chorus to that. I really, really like sort of the melody in the build up there and I just get sad that there's only two of them and that it doesn't come back after the bridge. Put It on repeat. It's got like the sydthey thing that's like it sounds like what ram start used to do. You know, I went through a phase with this, much like with the ghost album, where every day I was waking up with a different song stuck in my head and I'm like, Oh, I've got to listen to love murder one right now. I got to do it. But then what I think is cool about this is you get your bad man and then I think there's there's our love, which is sort of like a shorter interlude track, and then the last three tracks were a full prog otys and I think they're really good. Like my probably my second favorite song of the album is ladders of supremacy, which is, yeah, the big, like science fiction, heavier rock opera thing that really reminded me of the afterman songs. Yeah, I think this is great.

...olders, which was the single, which is the big, like stadium rock song, because the other thing about code to Camebra is I've seen him live and Claudia can fucking shred like there's cool, like Oh, I am singing my pop punk songs and I'm all Claudio, and then like there's where he comes out to the encore and to do welcome home and rips off his hair tie and his hairs hanging back and he's just like shredding on his explorer Um and that's what he just fully embraces on shoulders, like I like when he goes full guitar hero and just like rocks out. Yeah, this is like just a huge surprise that this is good and be that I like it this much and has completely reignited my going back to their old albums and just being like, oh, this band are incredible and see that you've found one that I like to yes, well, I mean I would. Maybe the afternoon albums might do it for you. They've got a bit more of the rocking stuff, the good Apollo ones, maybe his voices. Or even if you like the rocky stuff, suck it. You're the Black Rainbow. This band has the best choruses. If you just want to go whoa with the band code to Cambria. But where? At the moment the blog we're doing the best of the half year stuff. I recently went through and Redid my albums of the year thing and I'm sorry to say that next band where we broke the weather, we break the weather, that they have dropped from the number two position. Not Too far, I think they're they're hanging in around like mid top tens, but they've dropped a bit because there's just there's other albums that I've gone back to more than the Morow my style, but now there's like three or four albums sitting like contending for that number two spots, and vaccus too is one of them. So yeah, I'm big on this and I'm glad you are too. I'm glad I persisted. Made me come out of your break specifically to talk about how great the dolphin noise and bad man was. All right, so that was that was the Special Tech Death Co eding Cambria, episode of of of what are we called the heavy blog review pod as. I will be back. I think we're recording on the weekend, so maybe next week with Trent from the blog to talk about yes, Alexis on fire, porcupine tree, all the other big releases. White Ward cardship. Should listen to that, cardship. That's my hot tip for Ye. It's on my list. I've heard. I've heard some great things about it. I'm looking forward to checking out. Yeah, you can. You can actually listen to the podcast and we can tell you what is what is worth listening to. Be a new experience. You can hear on my choppy edits. Um. So, yeah, well, that'll be out soon. And then you're not here for the month after, for July either. Or Yeah, if I am, it will be in a reduced capacity. Yeah, I'm looking. I don't know. Everything that was going to be released in July got pushed back to August and now they're a double the amount of albums in August and like funk, all in July. There's the great appreciator album, which came out last year, in last year last week, and he technically early released it in June. Anyway. I've got arch enemy written there, which that got pushed to August, and then there's imperial triumphant that we were going to do for cool people and then some other stuff, but it's just like everything. I'm looking at it in July. Um, yeah, it keeps getting pushed to August. So now August is becoming a problem. But maybe I'll try and get some if we get some promos to do some of those earlier. But I mean if you were interested in a reduced capacity when it's looking like July might be. But I will ask Trent if he wants to stick around. Yeah, alright, cool. Well, thanks for doing this is me color. That's fun, all right. Well, yeah, take care and yeah, alright. So, yeah, by my cats just piste on my bookshelf. It's because I haven't cleaned his litter today. He's getting his bowls caught up on Friday there, so I will have the last last. That's almost his brutals the new origin record.

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