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Heavy Blog Review Podcast
Heavy Blog Review Podcast

Episode · 1 week ago

22-7 Between a Review and a Hard Place

ABOUT THIS EPISODE

Headliners: Greg Puciato, Conjurer, Ithaca, Wake.

Special Guests: Blood Command, Wormrot, Ernia, Satyr, Greylotus, Charlie Griffith.

Supports: The Atlantis Chronicles, The Wind Covenant, Fromjoy, The God Awful Truth / Under the Pier, Abhorsen.

Thrash Blast: Municipal Waste, Witchery, Plague Years, Critical Defiance, Battlegrave.

Recent Discoveries: Chatpile, Christian Cosentino, Black Magnet, Spiralist.

Uncool People: Shinedown.

Cool People: Imperial Triumphant.

All you. Has It gone? Um, it's going well. Not In the middle of a Internet adage. This time. You're in the middle of a screamer festival. Yeah, this is the one you were talking about last time that Gospel were meant to headline. I went and looked at the lineup and I do not recognize a single name on it. Yeah, it was the first name. It was yesterday and the Gospel was supposed to headline yesterday, but I could not make it. There was like a bunch of bands had to chop off, which was life, I guess. Yeah, still good. Two more days to go. Who should I know from the line up, because I think respire was the only one I thought I recognized, but that might just be because it's such a generic sort of bad name. I've covered them for the blog before and there they were, kind of in the blog is sphere a bit. Um Loma Prieta is probably like the biggest name. They've been around a while, like dangers, pretty cool surces, like a kind of women fronted hardcore punk band. They put it like a comeback album last year. I think. I don't know. It's there's there's a bunch of smaller bands that they wouldn't expect anyone did. Have trying to look up the respire so I can recognize the cover, but I can't find it. Doesn't matter, because we are here instead to talk about all of July's releases, or or a lot of them, most of them. Yeah, let's get into it with our July headliners, with ex still and joy escape plan, and then killer be killed and Black Queen, Mainman, Greg Prusciato. That's how I'm saying that. Condra, ETHICA and wake. They're our headliners. And then we have special guests Blood Command Wormrott Ernier, sat gray, Lotus and Charlie Griffith's that is, the guitarist of I'm told they're called Hagan not hearkened with an album he put out, I think the month before, in June, but I didn't discover it till later. So on throwing that in there. And then some supports, a lot of supports, from the likes of Atlantis, chronicles, the wind covenant, from joy under the Pier and God awful truth with their split deathbringers, a Borson municipal waste, witchery, critical defiance, play gears, Christian spiralless black magnet chat pile and Christian Constantino Thoreas we were discussing earlier. Some of those are ones that came out fairly recently that we're just going to shout out. I want to do a quick uncool people time on the new shine doown album, which I had the displeasure of listening to, and then and extremely cool people time with one of the coolest albums of the imperial triumphant spirit of ecstasy. Yes, so where do you want to start, Trent? We can start with Greg. Okay. Did you listen to my mixed up order that I did? Yeah, okay, alright, because I've done this once before on the show, so I this is an album that I re sequenced as I want to do. We did this once before on the show with the ghost album, which we went through sort of track by track and I had a whole narrative and everything that went with it. I haven't gone as overboard on this one as that, but I probably still, given the rearranging I've done, probably want to do a track by track breakdown of it. So why don't we go over to you first to get your general impressions of Greg Pruciato is a mirror cell um we're a fan of his first solo album. It was that could child soldier creator of thought that kind out what three years ago, I think it was. Um, it wasn't that crazy about it. Like I don't remember that much about it, to be honest. It just didn't really stick with me. I thought I would like the Black Queen more than I did, too, because I am into that kind of dark wave kind of sound you had going there, but I found it like I only really went back to the singles on it really Um, but I yeah, so I'd say this is probably my favorite stuff from him since like dillinger, basically. And were you much of a Dillinger Fan? Um, I was kind of like a late adapter to them, I guess, like I think, and part of the reason why I couldn't get into them was I was never like a big fan of his vocals then, but they just maybe like a hot take, I don't know. They definitely grew on me over time, like kink around, probably got into them around, like one of us is the killer and just association, which both of you both those albums that are I mean now I'll go back and listen to older flinger stuff and like it tomorrow. So it's like it was kind of just an acquired taste for me. But yeah, I've been digging your so um I found it. It was kind of surprised how heavy it is at times, like some of the facts down here. It could probably be on like one of us is the killer, like that album already has some more sort of all rock kind of sound songs. Yeah, I can see that. Just a lot of like simple, effective riffs. Like his voice sounds great, both in his kind of deeper, like melodic singing voice and I don't get that works really well in here on like the more than like the singles, the more kind of melodic, almost like Baladi tracks, like never wanted that, and lowered with Reba Myers. Then you pronounced that. And Yeah, so I think it's kind of a good mix of like heavier stuff and the slower stuff and and,...

...but I will say I think I prefer your track Lee out there. I think it gives it a bit better a bit better flow, and also like the your inclusion of imaginary fire, which sets a bit cheeky. Yeah, I'm glad you enjoyed it because but you're saying you were already sort of vibing with it before listening to yeah, because I I also sort of bounced off child soldier, creator of God, whatever it's called. I mean it seemed like, I guess, more of a mixtape than an album, if we're making that kind of distinction. It seemed like a like, not a demo, but he is a sample of all the different things I'm doing. But it wasn't quite cohesive, I don't think. I mean I don't even know what it's called right as it called child soldier or creator of God, Um. So it seemed a bit indecisive that the black queen a cool Um. And I am a big dillinger fan, or was. I works is one of my all time favorite albums, like as in there's a handful of albums that I would say I like, my top five could be my favorite album, and I works is one of them. But I I sort of trailed off towards the end of their career. But I'm like one of two people in the world I know of who don't liked association, which seemed to me at the time like a bit of a rehash of everything that they've done before. So I was excited for him to go off into his solo stuff. But yeah, it wasn't wasn't really feeling the first album and then this one. I liked when when I first listened to it, but yeah, it just felt a bit dour. I guess it's a real sort of got like a mellow vibe to it, even though there are these heavier bits. So yeah, as you've said, my rearranged track list I'm trying to bring a bit more of the energy out in it, to which point I've I've switched the first two tracks after the intro and decided to open the record with no more lives to go, which was a fairly easy decision to make, because it sounds exactly like we die young by alison chains, and that is the first song on facelift, so I thought it would as well be the first song on this album. Yeah, I thought that was a good hit, made for a good open air and as listening to it kind of just gets fraight to the point and you know what you're getting into. If, Um, if Carlo was here, because we've had debates about what elison chains sound like, I would I would make him admit, like this is the most allison chain sounding album not by allison chains, I think I've ever heard. It's because he's been touring and recording with Jerry Cantrell and I don't know how or why Jerry Cantrell is not on this album because it sounds so much like allison chain's all throughout it, but apparently he's not. Um. But yeah, that song in particular sounds like we die young, so I thought they would be a good way to open it. I've then gone into the original opening track, which is reality spiral, which I was surprised by how heavy this is when it sort of kicks in as the opening track on the album, like it's got a big, not new metory but bouncy riff. Yeah, I was like that was one of the tracks. So I was like, Oh wow, this is didn't expect him to keep making like this kind of heavy music and is solo stuff really. So that was kind of surprising but welcome, I guess. Definitely wasn't what I was expecting going into the album, nor like from the singles, which were lowered, and never wanted that to get yet sort of bouncing metal song was cool. So that's there. A number two, keeping the energy up, and then, as you've revealed. I have been cheeky and stuck in the imaginary fire. Duet. Off The carpeenter brute album or not, Juett, he's just on the song. We we chose not to cover the carpet of brute album when it came out, for reasons Eden has explained in his article on on Misogyny and sit wave. But if we were to review that album I would say it's fine. But God damn, this Greg Frisiado Song is awesome. So I'm glad to have rescued that from the carpeenter brute album and put it in here like really, yeah, well, one of the best songs I've heard all year, I think. I think Greg's just great on it. And then you kind of noticed you kind of lumped all of the sort of slower, softer songs kind of together in the middle here with lowerd never wanted that and we which I think kind of works because it gives an album a bit more of like a it feels less kind of jumping around and like stylistically, and it's like the kind of sound of it, like it's you kind of be stirred off for the dear else and chains and then get into the heavier stuff and up you'd imagine any fire, and then you kind of go into the little valley that slowly grows back up at the end of the album. So yeah, I kind of dug your way of positioning the tracks there and I don't know if that's what you're going for. Really it definitely was. I probably would have thought more of lower it as a as a transitional song, like yeah, I don't know, that's one of the slower ones. But yeah, that's definitely deliberate sort of leading into that slower stuff, and it is kind of strange that I've decided to do that because, Um, I guess my other comment about the carpet of bird album is imaginary fire is great, and then the song that just like slams the brakes on that album for me is the one that comes after with the guy from over, which is sort of this post Punky, really slow song, which there was one of those on the previous album that I thought worked really well, but this one just it goes from this like yeah, big upbeat Um Song with Greg and then just into this really Sullen and boring song. So kind of strange that I followed suit Um in this track listing here. But yeah, as you said, we transition through lowered, which I think is the one song on this...

...album that might be better than imaginary fire. Oh, actually, there's a couple. Um, I really like lowerd. Yeah, me too. I got very excited when it was dropped as the lead single to be like hey, if he releases an album that is like half an hour of this rather than the long mixtape we got with the first album, I'll be into it. And that's not quite what we got, but it's closer to that. Um, yeah, lowerd's awesome and REBA's great on it. Like her parts are cool, reba from Code Orange, but she can't sing, right. Is it just me kind of beating there to my head? Yeah, like it works in like this context kind of her her singing. Don't know, it's just sort of like the contrast with Gregg's. Yeah, he it is, like it's like a strained singing voice, for sure. That I don't know. I'm not a big Code Orange Fan, so I have like a lot of familiarity with her really. You know, she's always been a bit of a sticking point for me. Like that last cad or job was my Holm of the year. And I was not a fan of them before that. That just one mirror us so much. But still her songs where she leads my least favorite. Not Because, yeah, I think her, her melodies and stuff are fine. I just I don't think she's a good thing up. But this song is good enough that it works. Um. And then, yes, we're into the slower stuff with never wanted that, which this is the song where I go, how is Jerry cantrill not on this song? Yeah, that vibe. I'm a big fan of this song, though, I think mostly just because I kind of prefer Greg's kind of like deeper, mellow voice rather than his more like, I guess, kind of aggressive shooting style he does and some of the heavier stuff here. Um, so I think that's kind of the main thing that stuck out of that track. But it's just really well written alison chains songs. Yeah, it's become one of one of my not quite favorites, but I really like it on the album. But I was not a fan of it at all when it first came out. It just seemed like sort of slower. It's quite long. I think it's maybe the longest song on the album, apart for the last one and it seems very like one note Alison Chinese and in the original track order it comes in at number four and it just yeah, kind of like that oversong on the cover of brute album. It just sort of took the mood really down while I was still really got the energy of the first couple of songs out of me. But in this new context I've grown to really like it and like that there's some kind of narrative or theme going on here. I guess more more thematic than narrative, but it seems like it is. It's a depression album and I think a breakup album based on this song, like there's always talk about being stuck in the castle with the photos that he remembers and things um which is someone who has just gone through a major breakup. That is very relatable. But that really stuck out to me that there's a lot of stuff, especially in the later part of the album in both listings, that sort of hint towards like this is maybe an album about him going through something. I don't know, I think you're probably going down the eight path there. Definitely are you very, very moody, because then the next two I've got here. We and eye clips, which are together on the original track listing, mellower songs as well, but this is more of, I guess, what I expected from a Greg Shutter um solar career, like more black queen, more postpunk, electronic sounding. Yeah, they're they're fine. Neither of them are really standouts for me, but you know, they fit the album and they do kind of give it a bit more, Um, something else going on a little bit other than just the kind of gringe e Ault Rock and kind of heavier Alt metal stuff we've had. So it's like, I'm glad they're on the album, but yeah, they weren't really stand out for me. Yeah, I agree. They're probably the weaker tracks on the album, but it's nice to just have that turn shift and like yeah, mellow out for a bit and then I've gone into so like I switched the first two tracks, I've switched the last two tracks. Or here we have all waves lead to nothing. No, it's just called all waves to nothing, which is an almost nine minute long song. Um, that really feels like two or three different songs stuck together. But this is where the start of this is where he gets very heavy and aggressive. This feels like him and he's most still in dressed with him just like screaming with the distorted vocals about how he doesn't want to feel, and all of this again with the depressive theme. What did you make of this? Because this was quite confront thing, I guess, when I first heard it, because he hasn't really been shouting like this before and on the album and it's like he's dreaming, he doesn't want to be himself anymore. It's it's quite a lot. Ye, this is yeah, definitely one of the more like dyl injury kind of moments from him, like at least vocally. Um, that was really surprising to hear in this Um, it is kind of cool to also just hear him being like aggressive, but in kind of like a less chaotic context, like instrumentally, just sort of have it translates into the music and he's a great vocalist and he can kind of work with any really style. I didn't mind this as the this is the original album closer, right. Yeah, yeah, I think it worked okay. is as an album closer. I think the second half of it worked okay. is an album closer because I really like this song when it when it drops out of that aggressive thing and goes into this really lush, uplifting, more melodic sort of ending, which I guess I'm discovering is just the side of his sound that I prefer with this solo stuff. So that felt like like a good, suitable climax. But yeah, I found because this comes after rain...

...is underground, which is now the closer, which I felt was just like a perfect closer to the album, and then he just comes in screaming and I found it really, yeah, jarring. Um. So I guess in this this new track listing, I'm sort of I don't know. I think it works better as a as a breakdown a side, rather than ending the album on that real aggressive energy with nowhere really to go with it. I don't know. Now I've thrown the opening intro track in between these two songs. This is in this hell you'll find yourself, which is sort of a chug riff that fades in, reminds me a lot of the opening to the caven album, which I likened to convert his plagues. Sorry again, but even before we got to reality spiral, when you turn this album on and you get, yeah, this grinding sort of I was like, Oh, okay, here we go with all the squilling and the guitar feedback. I don't know if it necessarily this is the best spot for it. I think you could put it leading into the opening track or something. I've just put it here, I guess mostly too because always to nothing does sort of end and this gives an excuse for there to be another song afterwards. I don't know. Does this transition work for you? Yeah, that was the one that was a bit contentious about. Like I feel like if this wasn't going to be the intro then I don't know if it really has a place in the album. It's basically you're like an interlude. Otherwise it could just be cut, because I do like the riff, but I don't even think it goes well into a reality spiral that well. It does sort of seem like it stops and starts. It's like a good on its own. Yeah, but it's I don't know, it doesn't really fit into things that will so take or leave that. But what I think is utterly essential to this album and is my favorite song on it, I think I'm taking it over lower. It is rainbrows underground. I love this song yeah, it definitely, definitely works as a closer. You were ready about that. Yeah, the the ending just feels really, really climactic. But this is another just sort of massive melodic one, and it is it is more depressive, like we've gone through that lull in the middle. It's not one of the upbeat ones, like, yeah, the rocking stuff that opened that I've got opening it, or imaginary fire, like this is a lading and sort of still a depressing way. I don't know, I'm discovering this album is very emotional, but I don't know, there's the I can't remember the lyrics, but the chorus is something about like looking for a man and only finding rainbows underground. I don't know what it means, but it is like just really connecting with me. There's something about this that I'm really liking to the point that, yeah, I wasn't really feeling this the first few times I listened to in the original order, and then and then I switched it up and literally I went like a month straight. I listened to it multiple times a day and I was I was just shocked how much this connected me once I reshuffled it to the point where, yeah, this has become one of my favorite albums of the year. I think it's great. Yeah, and I was surprised how much I enjoyed it as someone who's always been kind of indifferent about Greg's vocals in general. But yeah, I think there's definitely his best kind of Solo work outside of the linger I'm concerned. I wonder if you'll stick with this or if you'll go off in a completely different direction for the next album, or if there'll be a next album or start a new band, who knows? But yeah, I think this album is really great. All right, if we're done with that, let's get onto albums that I haven't had to arrange to connect with. Um, do you want to go to conjuror next? Yeah, yes, this is a bit more your speed. I think this is one that a lot of people have been looking forward to, including yourself, I believe. Yeah, it's a big, big fan of Meyer. And there's sort of split thing with pigeon. Did you ever listen to that cursely's metal hands? Yeah, the Baroness One. Yeah, I got to see them at the ARC tangent in play. That is quite cool. They put out a t shirt that's the like God speed, you black emperor. The lift your skinny fists, cover with like the hands going up, except the hands are doing like rock symbols, and on the back it says, instead of like saying God speed you black Emperorson thing, this gives you, exclamation mark, baroness energy. All right, so it's knowing. Yeah, yeah, I didn't really even think about that collaboration Um going into this, because the big shadow that sort of hangs over this albu which is called Pathos by the way, or pathos however you want to say that, is, yeah, Mya, their debut album, from which people went absolutely bananas full, and is an album that I feel like I should love, but have never really like connected with at all. I don't know, like it's it's just heavy, sludgy, extreme metal influenced hardcore rhythms like all packed together and just for whatever reason, I listened to it and it it doesn't do anything for me, and I found that incredibly frustrating just over the past few years. And they build up to this one, like why, why...

...don't I like this help when everyone else seems just head over heels like there's been talk about it being like a modern classic, and I don't know about that, but it's definitely left an impression. So I don't know, I was sort of bracing myself for having to grapple with this, but I really liked this album. I like this a lot more and liked it straight away, and I think that's because their sound is more focused to Maya where, yeah, I was saying, there's all these influences, but curiously for me they've sort of stripped away the parts I thought I would connect to more, with the hardcore and the death metal stuff, like this is a black and sledge album, right. Yeah, there's definitely more black metal going on here, like, I don't I barely hear any hardcore on this at all. Yeah, it's almost more like Gojira at times, like like there's still like kind of grooves stuff going on and but it is. I think it's more black metal and post metal east sledge than the kind of hardcore vibe that Myer had a bit of. But yeah, I know, I thought it was a fairly like natural progression from my it's not a huge change in sound, but like it is you can tell they're kind of evolving a bit. Everything feels a bit more kind of like bigger in more ways, like it feels almost like going for I don't know if I don't know if it's just me, but there's like a bit of like o path to it at times. Like yeah, one of my notes is the song truck five. Those use condamn sounds like our path. Yeah, it's I wouldn't say it's a really like progressive album, but I know it just sort of their use of like dynamics and kind of like dramatic sort of shifts and stuff, and I found the like postmelon influence just in sort of like their songwriting when did a lot here. Like they can go just sort of how they like grow from sort of one other like these like super like earthquakingly heavy kind of riffs and into more like kind of contemplative, sort of reflective moments. In general, I feel kind of similar to it as I did Meyer like, which I liked a lot. So not that's not a bad thing. I I'm not like going crazy about this album. If I had to read it, it would probably be like forid I five or something in that range or something. Yeah, I agree. I think for me Maya would have been a three and this is a four, where I think a lot of people have said it would be a four or five, but yeah, so for me this is a definite step up. And it's not even that like they weren't competent on on my like clearly they were doing what they wanted to do, it just wasn't connecting with me. But this seems so this seems like lesser refinement in that they've just like they've defined the sound a bit more, they've decided what it is like. My kind of felt like them lashing out in all these directions with all this energy, and this is a much more contained album. But it's like, okay, these are the parts of our sound that we're going down and maybe they'll bring some of the other stuff back in. But yeah, there's a notable shift there, like in the in the atmosphere, that the sludge is a lot more, I guess, introspective. I don't know that the sludge on Maya was like a swampy sludge, where this feels like a dark sort of Dank room sludge, which might just be to do with the imagery that goes along with it. So I don't know who produced Miya, but I think this is done by funking out forgot his name at the fit for an autopsy guy. Yeah, I think he produced this, which is kind of a strange fit, but it works for me. I think this is I had a bit of a problem with the sludgy production of Myer. I think was blocking me. Yeah, I do like the production were in this. Yeah, I'm enjoying this. A bunch of other reviews have pointed out there is kind of a Saminus to the songs. Yeah, the follow this pattern of like the soft intry into the heavier parts and they fade out and start again. Part of that might be like like the average track length here's like seven minutes. Yeah, the majority of the songs are over seven minutes and that does kind of lend to a bit of seaminess. And I think it's fifty minutes long too, which is maybe pushing it. Yeah, I have noticed this like pattern, but I don't know if I mind it, and I think that's maybe because I sort of listened to this as one long thing rather than individual songs. So if you break it up you can sort of look and go, yes, it follows the same pattern, but if you just listen to it like as as a whole, it gets loud when it needs to get loud and it gets quiet when it needs to get quiet, and if that's at the start and end of where they've decided to put the brakes in, then fined. I think it works. It probably could do with a bit of trimming, but even then I think it flows well, like sort of by track four bast list, which I really like, but by then it does it has sort of been yeah, twenty minutes, probably about half an hour and four tracks of the same sort of thing. But then I think that's the point where they switch it up. So the first four songs are fairly interchangeable and probably some of the stronger material on the album, maybe. But then yet, yeah, those years, which sort of sounds like a path a bit. Yeah, and then you get suffer alone, which is the short sort of two and a half minute hardcore songs, and then Um in your wake, which almost sounds like adm more angry, with this big, sort of Bouncy concussive riffs. So they make like small changes, but I think they mix it up enough that it doesn't get bored. I'm kind of surprised how much I like this compared to how much I wasn't clicking with Mya like I don't think this is going to make my end of year list and I still think it's a four star album, but I think they've definitely got a five star album in them and I'm and forward to the next one. Yeah, I think, as you're...

...saying, that like Meyer had a bit of that like debut album just sort of like they've got all this, all these ideas and they were just kind of throwing them at the wall, and then this one I didn't I agree. It is a bit more like refined of them discovering what they want to sound like. But it's a great album. Like I'm a huge fan of the vocalists, like like his harsh vocals are just have this like kind of blackened evilness to them, like kind of mixed with that slaky growl that really works. I think that there's a little bit of clean singing on this that I thought was wasn't in love with, but I didn't. I didn't think it would like hurt the album or anything. It think it works like in the context of the songs to kind of mix up the sort of tone of them and the other like highlighted this album is the drumming like I'm not sure I should pay you like define heaviness in terms of drumming like, because it's not just like fast, but it's just like I think it's probably something that like Bugira does really well to like just like three use of humbling kind of rhythms and stuff. I mean it sounds like he's got sledge hammers on his speed. It's like, yes, it's every drop. Yeah, all right. Let's move on to another anticipated follow up from a UK band with, I think, a more decisive direction and surprising clean singing. Let's go with the fear us by Ithaca. YEA, yeah, yeah, yeah, yeah, yeah, yeah. Did you like the last get the girl home as much as I did? Trying? I did. I'm not sure how much you liked it, but I did like it quite a bit. Yeah, this is the language of injury from which I think is quite a sort of landmark, even iconic album. Yeah, it seems to be a lot of quality hardcore based music coming out of the UK at the moment. I think this was definitely, yeah, one of the big releases from that panic chords, screaming breakdowns. It was great. It sort of wasn't doing anything new, but it was doing all of that really, really well. I think the only other album I've heard sort of do this thing that a lot of bands are trying to do at the moment to the same sort of quality was that last briskmates Rais album, which I really liked, but the language of injury. Injury also kind of had its own identity coming through as well, a very clear point of view, and I was ready for more of the same. Would they fear us? But this is a very different album. Yeah, definitely kind of unexpected shift, given like how well received that last album was, but I can't say they went in a bad direction. Definitely on board with what they're doing here. It's yet, I think, like you said, definitely more melodic, a lot more clean vocals, almost like post hardcore, kind of alt middle stuff going on at times. I've got a lot of like diversity to it which, like the last album was, like you said, to more kind of straightforward sort of metallic metal core album. Um, this is they're definitely branching out and trying all the different things here. I found myself missing a bit of their like math core influence. There's a big math core fan their relative lack of panic accords was like a bit of a Bummer, but they are they do still pop up here and there. Yeah, and I will say definitely go and read called. There's anatomy of which is very eye opening up, just the range of influences. Um, yeah, I think that was with the drummer and guitarist. Did that? I think with him. Yeah, a lot of let of surprising things like that. You can hear through it, like the nineties influence, like power ballad and stuff. Well, yeah, you were saying there's more alt rock influence and while you've been talking I was looking for that anatomy off so I could talk about the bands they picked. Um, because who is it? Guitarist? Guitarist Sam Cheating. Sam Cheating Welsh. It's not Sam Cheating who was Welsh? I think that's his whole name, Sam Cheating Welsh. Yeah, one of his picks was the song can you stand the rain by a new addition like nineties boys to men kind of style, soul man, Um, and he talked specifically about the production of Jimmy Jam and Terry Lewis, who apparently worked with the boys to men, and Janet Jackson and things that he specifically wrote the last song on the album. Hole would be held as a power ballad in this style and while I don't think it's quite a like boys to men style soul song, Um, I can definitely hear the the nineties pop influence. I mean this is a completely clean song, like Floaty, Dreamy, sort of electronic, almost pop song, but very nineties sounding. I mean the things that brought to mind for me were the music in twin peaks, like the original series, the theme to that, so that nineties electronic turnout, but also the theme to the Nineties Dracula be...

...by Anie Lennox. It reminds me a lot of that. So He's nailed that reference point, I think. But yeah, quite a departure from where they were on the language of injury. And while that is the most extreme example of what's going on on, they fear us like by the time you get there, this is the ninth song, it does feel like they've done a good job transitioning from that metallic hardcore sound to where they where they end the album, because this album opens heavy, like it starts with some panic chords just to reassure you and be like it's okay, yeah, I haven't gone. Yeah, like I can see them kind of, I don't know if it was intentional, but almost kind of following like what Rollo Tamassi has been doing. Like they were almost like definitely more of a mathcore band than anything with like Nintendo core stuff, but have kind of evolved into something of like a genre fusion of post hardcore, post metal with still some math core going on. And Yeah, this isn't really like as post metal as Rollo tasty is going, but just how sort of genre Ignaz stick it. It is really like they're not afraid to try a lot of things here, UM, which I'm kind of open with. It seems to be almost like a theme of some of this like you could call it like a new new wave of British metal like them, like Fall Bard, you can probably throw in there too. But there's still, let a really cool risks here. Um, I don't know if it was I don't know if they mentioned misery signals in the anatomy of but I got a bit of that. I did see they shouted out burnt by the sun, which is a really underrated medal core math core band from the two thousands, and and also feel calms yeah, yeah, I think uh, like a cremation party was one of the more kind of math core songs that dug also a bit of like Lamb of God refuge at times and kind of like kill switch engage kind of stuff going. So it's a very sort of melting pot of like meddal core in general. Really Jamala, that he pronounced her range is a lot more like on display here Um, with a lot more of her clean singing, but she's a great singer, great screamer. I've had no problems with her in any parts of it and kind of like you said, by the time you get to the end of it and none of it really felt like it dragged on too much or anything like has like solid pacing through with kind of like a shifting tempos and kind of shifting tones and heaviness. It was very, very pleased with how this album came together. Yeah, I was surprised that having gone back to the language of injury, because I thought, yeah, this is a huge departure. But there is some of that clean vocals like showing up in the background on some of the latest songs on that album. So like the seeds of it were there, but it's just it's fully blown here and just the quality of her singing is like insane. She's not just like competent, she's incredibly good on this album. You mentioned a couple of things there I want to pick up on. Yeah, you mentioned Cremation Party, which is the big stomper in the middle, which I think is great, but that is there's sort of like three phases to this album. There's the first four songs, so sort of these like Bouncy, brooding sort of songs, and then there's the two in the middle, cremation part the number five, that just go like ham on the metallic hardcore before they get into the floaty pop stuff at the end. And I think of the two there's commation party number five. Number five is a bit of a like that does feel like it's a it's a weaker version of commaction party that came before. So I agree with you. I would sort of I want a little bit more of the heavy that was and the and the aggression that was on language of injury here, like I would like a little bit more of it. But number five to me sticks out as like why do that again when you could be doing all this other stuff? Yeah, it might even just be like a track positioning thing, like if that wasn't right after cremation party, it may kind of hit a better well, that actually leads into, I think my one other like criticism of this album, talking about the the Sam Nous, is the lyrics follow a lot of similar vocal patterns. So you have the the opening song. It opens like the opening lyric in the way is it's not a job, it's a service right, and then you have the title track, it says opens with it feels like years away, it feels like decades. And then you have the camera eight's first that has the refrain of it's what you do when you think no one's watching, implying it's not what you do when people are watching. This this pattern of all these refrains. Three out of four refrains in the first four tracks start with the word it and they're sort of this pairing of it's not this, it's that, it's not this, it's that. It feels like this, but it's that, and all of those are great hooks that are delivered really well. It's just putting them all back to back. I did notice like you are sort of falling into the same path. The last thing I think I want to say about, as you mentioned, roller to Massey, which I think is a great point of comparison. I don't know if you listen to the Review Carlo and I did of that album earlier in the year, but I said that I liked it but it felt a bit mortal. It was like they do the clean part, which is great, and they do the heavy part, which is great, but it didn't really flow for me. It was very much like we're doing the clean part, now, we're doing the heavy part, now we're doing the clean part, now we're in the heavy part, and for me here it just yeah, it integrates a bit better. I sort of see the roller to Massi album is a more ambitious, more genre bending album, but this, to me, is more six as full of...

...what it's doing. I kind of feel the same way about this as I do with the condrome, like I think this is this is a full star album, or maybe a four and a half, like I don't want to call the language of injury a three style, like if the language of injury was a full style. This is maybe a four and a half and I think the five stars ahead of them, but they're on the right track, especially if they listen to some more van Hagar on the way there. For sure, I could definitely see this being kind of a big breakout album for them, like I could like they're they're already getting a lot of hype like around like the cover of like Kerrang. I'm curious, curious where they go kind of from here afterwards, if this is kind of their set sound or not. But it might go for bring me the horizon and just become a pop bad which, honestly, I'd kind of be cool with. Yeah, like she's she's a good, good enough singer for sure. I don't know if I'd want a whole album of power ballads or not, but I'd be curious to hear it. So all right. Our final headliner a highly ants paid album, especially within heavy block circles. This is the new wake album, which has a strange name, thought formed descent. Am I getting that right? Yeah, I always think it's thought from descent, which makes more sense to me, but it is thought formed descent. Yeah, yeah, I am shocks that. These guys used to be a Brag callband. Right. Yeah, but their last album was a devouring ruin. Came out a few years ago had kind of a dissonant death metal mixed with post metal, like ulcerate kind of sound to it. It was a big hit. And then and then this one, which we'll get into because this goes even I would describe this as like progressive blackened post metal baby. Yeah, I think you know, like atmospheric black metal meets like kind of Dissan and death metally sledge almost like with a lot of postmeal going onto like. Yeah, it's great, the quick the evolution they've had, I guess, and I think I feel kind of similar to cleaner, like especially like in terms of this album, compared to devouring ruin and like pathos compared to Meyer, like they those are both kind of like we're like big albums that were like yeah, like you said, like popular and amongst heavy blog and everything and so and this was kind of the follow up to a big album of being kind of where are they going to go from there, like how much further can they take this sound or are they going to experiment really that much elsewhere? And I found it not a not hugely, not a huge progression from the daring ruin. Maybe it's a bit more black metally than it but um, yeah, I think some of like the wow factor, like I was a huge trying of during ruin and like some of that is a bit lost in here because it's a little fairly same to it. Um. But one of the guess, one of my biggest takeaways from here were the riffs, or some really cool riffs. Um, it's from your kind of standard kind of up tempo black metal to this album is a bit more progressive than Um wearing ruin. Like again, like almost a bit of like o Peth kind of influence there, with a lot of like kind of shifting dynamics of some sort of like later stuff and really upbeat, Um heavier stuff, like my probably standout track early on was bleeding eye of the watcher, which has a really cool part where it's almost this like folky kind of inspired like later riff that just kind of like repeats and grows and also like the drumming just like picks up and then then the vocalist just goes like ham over top of it in the background and just like builds this like big explosion that it just kind of blew me away and the first time I heard it. Overall I was happy with this album, but I left a little bit wanting. I don't know if that's just kinds of the hype behind the kind of this band and how much I like devaring ruin, but definitely still a fan of it. It's probably one of my favorite albums from July at least. Um. Yeah, I really like devouring ruin, not not to the same extent you're saying, like it was more an album that I listened to a couple of time. I went this is really good, but it's not like personally connecting with me. This album, however, is just absolutely grabbed me. I think this is way better. I think it's a huge improvement. I I love it. I think it's a massive departure as well. This is this, to me, is a much brighter album, which might just be because of the covers. You've got sort of the Raber forest scene on the front of this one and then m de Varon everyone has this dark black and purple thing, which is really cool, by the way. Yeah, it's a bit more ominous,...

...yeah, whereas this. Despite saying that, though, like, yeah, I think you've hit the nail on the head. This is black metal rather than death metal, like all the other elements are there but the start of the first track on this reminds me of something so much and I can't place what it is, but like it might be deaf heaven or white wood, like I think I think white water are the comparison for this sort of sound. Yeah, definitely a lot of wit word, which had nothing to do with the vowy ruin and, as we discussed last episode, I wasn't really taken with that White Wad album. But I definitely prefer this for the reason that I think they kind of stick with those riffs. Like we were saying with the white waite album, they bring in something interesting but then they just sort of throw it away and then they stick in a spoken word section. It seems like they're kind of like with miles, lashing out in all these different directions here, like they find those riffs and those grooves and they sort of play them out, they get the most out of them. Yeah, I'm quite taken with this, and the same sort of thing with pathos by conjur as well, is that I sort of get. Yeah, three or four tracks in I'm like it's a bit. It's a bit say me like I like it, but it's not really changing up and then you hit yeah, the instrumental track four, which is sort of this minute and a half almost flula sounding, sort of proggy song, and then Um, Um, I think you mentioned o Peth. I've written that the venerate, the song that kicks in after that, reminds me of the half album that was my home of the year because it sounded exactly like our path. So that they bring in Um some of that. But yeah, rather than being the Dank disson and death metal progressiveness of devouring room, and it's this year brighter, um sounding progue. So yeah, I'm really impressed and quite taken by this. I think it's another great release for this sort of sound this year and I think this is when I need to spend more time with there's a light going on with it. It's pretty dense, like the sound in general. I think. Yeah, I can see this. I can see this being in definitely in my album and the year list. Yeah, I think it's going to be a mine, which I wouldn't have thought, because I don't think. I think devouring room was one of the ones that was sort of on the border and I just went to look. I just haven't listened to it as much as other things. Where is this one? I found myself just going back to and like there, it is dense. There is a lot to discover, but I I really find it really gripping and instantaneous. So, yeah, good album. All right. Should we get into the special guests? Um, yeah, let's go with with blood command. Where are these guys from? Norway, are they? I believe, so that they have the singer from Pagan, who are an Australian band that broke up and then she moved over there. So are you familiar with blood command? That was not at all actually right. So I have been a somewhat of a longer time fan of blood command. They put out me p a few years ago that I wrote up for the blog, which was cold return of the arsonist in. But I, like a lot of people, jumped on board with what I think is their third funeral beach, from which the elevator pitch on that album is, Um, I can't remember their name. What's the band everyone went crazy for with the guy that had the owl on his head, but then they weren't that good, actually not tech. Yeah, them. Is it okay? Yeah, okay. So this, this album, funeral beach, sounds like the cavell attack plus, Um Paramoun. So like really fast, punky black metal with these big melodic, like pop punk disco brakes. Um, really fine, cool album. The singer who was on that album left. They got a new singer for the next album, which is called cult drugs from Uh. This is where they like sort of really expanded their sound. There's a lot of electronic stuff on this album. Yet let more into that sort of electro pop side of things. Um, the vocalist that was on that album did a lot more clean singing and stuff as well. Um. So those two albums are really cool and kind of like, yeah, not not quite underground underground, but cool cult releases. And then, yeah, I brought up returned the artens because they sort of disappeared, and then they put out nep and then they disappeared again because their vocalist left again, right, which brings us to, yeah, Pagan. We're a band from Australia that popped up and everyone went hey, these guys sound like blood command but a bit more black metal. Um. So yeah, like black metal punk. Um. And then that band got a lot of hype and broke up like six months after they released their debut record and then the lists are of that band moved to Norway and joined blood command, which makes perfect sense. So, as a newcomer to this who doesn't have sort of the perspective on where this band's come from, what are you making of praise Armagedanism, which should be called praise armaged because that's what the guy says in the intro track, but it is called Praise Armagedanism, which drives me nuts inside game. Um, it's kind of kind of hit and mess, to be honest. Um, like there's, yeah, there's stuff I liked, like I think they do. So some fun poppy melodies that...

...are pretty cool. Like it almost sounds like cardly Ray Jepson at times, which, like, I didn't find like a bad thing. that. I think that might have just been the song. The end is her specifically, like the start of that. Um, and then like there's some some like the riffs Um almost reminded me of like stuff like billy tallent like of it. Um, yeah, I don't. I don't know this. I don't think it's one really for me. Like, like you can just say you don't, because I'll let you know a secret trip. I do not like this album. Okay, like I'm hugely disappointed by this, so I could I can kind of tell that seems to be like the consensus. Like even just looking at like, I don't know if you use rate your music, like their first two albums I'll have like three point six is, which is pretty high for that site, and then this album has a three point one nine. So that's a bit of a drop off in the voting rating people there. Um, all the reviews I've seen I would have been glowing and saying this is maybe the best thing they've ever done. Yeah, it's definitely not. I struggled to finish it. PIANNEST, like by the time I got to I just want that movie ending has like all these like cheesy woes. I'm like, okay, this, this is enough. I think we are very much on the same page because that they actually released an EP earlier in the year which I think might have been called the ends her but it had like four or five tracks from this album when I wasn't really digging any of them, and now that we have the album they are the three or four best songs on the album. Um, yeah, this is not doing it for me. This is a lot more yeah, you mentioned Billy Tallant like leaning into the pop punk aspect of their sound. They've never been quite this. Yeah, Bouncy and Jointy, Um, that sort of punk caval attack turber Egger reference is just not really there. Yeah, I was surprised. You're saying Sing Max. I was going to say I cannot hear any of that here. But funeral beaches is a hard recommend if you are at all interested in that. Like it has straight up like songs that sound like turbot nigger. Yeah, it's not doing it for me and I don't yeah, the Pagan Vocalist, Nicky Berman. There's a bit of speculation going into this pagan. We're a lot more black metal, screechy like what she's gonna be able to do the sort of pop vocals that they were leading more into on the last album. I think cleans and stuff on this a fine it's like harsh vocals that I think up to snuff here, especially on the opening tracks, Saturday city. The harsh vocals on that, I think, are quite poor and I just find the refrain of that song quite irritating. M You pointed out the worries. You mentioned them on I just want that movie ending, but they show up earlier. Yeah, pretty pretty forgettable album. They don't really intend to revisit this. Some interesting ideas. Will definitely go back and check out the last one or the first one. Funeral beach is the one. Funeral reach and cult drugs are great albums. Album cover. I'll give it that. The album cover is cool. It does plug me that it's called Armageddnism, though. Who made that choice? And it looks squished on the cover. It's like there's too many words to get in there. It's like, yeah, because there's too many litters, that's not a word. All right. Well, let's change pace completely now and get into our grind double bill Um with. Yeah, I fairly high profile album for for a grind record. We're talking about hiss by Worm Roth from Singapore. Are you much of a Grindcole Man Trent? I am slowly discovering that I am. Like I'm like just recently. It's like a grand coore is always kind of the one like extreme kind of genre. That never vibed with me until I think we kind of talked about it last time, talking about like the noble album, like Oh yeah, bad and like full of Hell's trumpeting ecstasy, or kind of my like shift into realizing that he kind of did. What's going on here? I was going to say I probably should have asked whether you like called before making you listen to an album by a band called Worm Rock, but then I remember that you were all over that nul album. Sorry, if you can handle that. Uh, this Um is probably okay. This has been getting a huge reception. Yeah, like even with circles, but just in music criticism at large. Like I think this is one of the best received albums of the year as far as I've seen. Um. What are you making of it? I I'm a big Fan. I'd probably been my most listened album in the last couple of weeks. I think like a lot of that is to how much, like this is not purely a grind album. Like there's a lot of other stuff going on here that I really dug like a lot of like power, violence and dot's get kind of death, metally but not too crazy, and some kind of like crusty kind of stuff. And like one of the parts of it that I think like might touch on why I'm realizing I'm like grind more than I thought I did, was there's like a lot of scream oh here, like is grindcore just extreme screaming hot take? Um, I can converte or a grindcore bands. I make it that where you will. Yeah, I think...

...just the like how many directions this album took really surprised me and impressed me. It's almost like avant garde at times, like with like the chillo stuff going on, and I think like maybe one of the reasons I kind of struggled to get into grind initially was but it just kind of the same sort of riffs, same kind of vocals, which this is not really like. There's a lot of range in the kind of style, the instrumentation and in the vocals that kind of keep it from getting repetitive at all really. So, yeah, big fan of his and I went and this was actually my introduction to worm rot too. So I went back and listened to voices, their last album and dug that a lot as well. So apparently I'm I'm a worm rat fan. Yeah, no, I used to be quite into ground Cole and not quite obsessive the way like Matt who used to write for every blug walls or anything, but it was a druenre I I liked it. I found myself going the other way, sort of moving out of it a bit more, because a lot of the bands do sound the same and it's not really it's sort of all been done, I guess. And everything you've said as eckered, everything I've seen said anywhere about this album, that it's diverse, that it's almost advantad and everything. But I put it to you trade. Is there a lot going on on this album, or is there just like the occasional bit of violin that Pisces off after about fift seconds? I mean that there's some truth to that, but I think just in terms of like there's kind of like a hardcore punk song thrown in there and like some like straight up more like power violence kind of stuff going on, and in terms of the like intensity of it, I think it grind is in general, is a pretty like intense genre sound and I found just kind of that it's not just like you're not just being pummeled in the face the entire time, kind of appealed to me about this. Ba clear I think this is a good grind Coorel, but I don't think it's anything more than that, and I am really shocked at the response to this is some kind of experimental, revolutionary album. You not being a grindcore Fan, are you aware of the album utilitarian by NAPO death? Not Really, to be honest. Haven't. Haven't dug into too much nap and death. Well, if you, if you like grindcore. Yeah, probably, because the thing with grindcore is napalm death are the best grindcore band and there is no argument about that. Like they are so clearly above everybody else. I mean, I get pig destroyer are the only other ones, but they're sort of still following napalm death, and Napalm death sort of do a thing where they come in, they change the complete hand of the genre and then they do that for a few LMS and they change it again when they feel like it's their last album. Sort of brought in the industrial stuff, which was the first time I felt they were sort of following trends rather than setting them. Maybe the point is utilitarian is their album from so ten years ago, and the big thing about utilitarian is it had a song with John's on the saxophone guy so came in did the crazy saxophone thing. This is around the same time that shining and black jazz and saxophone is becoming a thing in an extreme metal but that is to say that what the violin on this album does, it's sort of just imitating this thing that Napalm death did ten years earlier. Like I feel this album is kind of behind the times, if any. And apart from the violin, like, yeah, nothing really stands out to me about the vocals. I mean there is thing, there's a song called broken maze that has a chorus that sounds like fear factory, which was unexpected, but something that fear factory, who started as sort of a saber grind band, did thirty years ago. So I think this is a good, solid grind curl, but I don't know if it's necessarily a special one. It sounds a lot like, yeah, the last ten years of day Palmed UK to me. Yeah, maybe just my relative lack of experience with grindcore, but yeah, that this just sounded like not totally what I expected from the genre, I guess. Well, I don't think it's just you, because the people who are into grindcore and extreme music I love this album. So it's just me, but I whatever everyone else is hearing. I'm I'm not hearing on this. So it's not that I'm not enjoying it, I'm just not blown away by it. It's, as color would say, it's fine Um and, and that is also kind of hampered by the next album we're going to talk about, which I think came out, it was it the week after, although I got the Promo for it about a month earlier, so I've been sitting with it. We are talking about the I think it's the second album from Spain's earlier called how to deal with life and fail, and has a big long subtitle that I'm not going to bother reading. Yeah, okay, yeah, yeah, yeah, yeah, yea. So this is also a grindcore album. Mentioned him before, Matt, who used to write for heavy log and round the grind column. I was talking to him like like a few years ago, when I was saying, yeah, I'm just not really feeling grindcore anymore, but I used to really love it. Like what band should I be checking out if I want to dip back into it? And his immediate answer was earlier they're the ones, and I listened to their first album, which was self titled, and I listened to that and I thought it was a very good grindcore album, but much like the worm rade album, it didn't seem like anything special and really prompt me to go...

...back into granndcore. But I checked out this album because I remember the name and I think the artwork is really cool and not what you would expect from a grandcore I'm very, very colorful, cartoony cover there. So just to get it a lout, I think the album is great and I think this is a genuine sort of progressive ground baking grandcore album goes in like ten times the directions of the of the worm. We're wrong. Am I on the money there? I think this album kicks ASS, so I'm not going to disagree. I find it kind of on power with worm. Right, I guess I right. This is definitely more, call it, more progressive than worm, more technical maybe, like it's almost tech death yet times too. Well, they have the guitarist and drummer, the brothers from wormed. The volcanoes are brothers from worm. But Ye, there they've brought in like one of the most brutal tech death bands, like on the core rhythm section of that, into here. So yeah, I think that the technicality is definitely up here, because I did go back to that self titled Album just to see, like was this always here? And No, like there's some occasional sort of sludgy atmosphere Eric interludes on that first album, but there is none of the like technicality and progressiveness on here. This is almost like a brand new band. I haven't heard their debut yet so I can't reference that. But the biggest Standoud here is definitely the guitar work for me, just like it's there's a lot going on between. It's almost math Corsh at times, and then you've got like cool, like get gallopy stuff, and then they can just be like some crazy tread solos and it's kind of kind of has everything from like an extreme guitar standpoint. Really that was sounded sick. So I mean, regardless of the opinion about quality, which is, you know, subjective, like just the sheer amount of experiments that are on this album, I think dwarf the wormer on. Like there was a bit of Violin. You were saying power, violence and screaming on things, but like grondcore evolves out of hardcore, so I don't think that is a huge departure here. It does sort of what the epic album does, where, I think it builds up to it and threads it through. Because, yeah, the first part it is fairly straightforward, if like extremely technical grindcore. But then about halfway through you get helium, which has this big jazz section. You get new asops fables, which is almost like a post punk idols kind of sounding song. You get two D which is this slow sludge song. Then there is this life is written history, which is like this disson and tech death song that evolves into this like flirty, almost old rock sounding, Moody Section. The next song, the O'Neill cylinder, has like the section in the middle that goes into like jazzy finger clicks that reminds me of the like there between the barrier to me albums. And then, currently, the last song, is like a melodic post metal track that has like depressive black metal vocals. Reminds me a lot of a million dead birds laughing actually in places this album, which are a band I really like, or did really like when they sounded more like this. This album goes all over the place but also, unlike the worm right album, like for me, when when the violin comes on that it's just like, Oh and now there's violin, I guess, whereas I think this album really like builds up to and threads all these different influences throughout it. Yeah, I'm I'm really quite, but this definitely felt like almost overwhelmed with the all of a sudden all this good grindcore hitting me. That's but yeah, it's this is definitely one of one of the best ones that from my brief experience with the genre that I've heard so far. So if you if you did grandcore, definitely don't sleep on yeah, I think a few people the blog have been talking up that. Is it anti gamma album as well, which is another grindcore album that came out this month. I just haven't had a chance to listen to that, sir, but I'll be checking it out. Yeah, good grind coming out at the moment. All right, let's change gears now. This is an album by a band called Sato, cold treat one. Yeah, this is their second Oldmer, I believe so. Yeah, because the first album was it was the last one self titled. It was called locust, locust, that's right. This was a big hit among blog circles especially among aiden. I think it was one of his favorite albums of the year and he and he wrote about it a bunch. So I guess I fairly anticipated follow up and this is like probably post hardcore. I guess this is sort of in place of the the dance govn dance album that came out this month that we weren't sure we wanted to cover. It's along those lines a bit, but not as Wacky, I'd say. Instead of bands like dance, Gavin dance and the general like one core scene or more like poppy math rock influenced, this is more like prod metal influenced, probably post hard care. Like definitely still like a post hardcore band above all, but like it's more kind of groove...

...oriented in a way, like I wouldn't call it's not like gent really, but it's sort of that style, like writing, like versus like there there is there's still some like math rock influence here, but it's not as kind of dominant. I compared this a bit down and if you heard the band snooze, they're kind of kind of a similar ish, like pruggy Matthew, post hardcore, but again with kind of more focused on rhythm than like kind of capping and that kind of that style proud post hardcore. But yeah, I think this is this is a good album. I'm not a massive fan of this band, I think partly exactly I think the vocalist is just fine. Like like like. They fit the music, but he's just not super memorable or doesn't really like command your attention. In a way it's kind of just fits into the music, which is what you want in the vocalist, I guess, but it just doesn't didn't really stick out to me. Well, no, I'm not really a huge fan of this bad either. I thought that the first album was decent, but I wasn't really taken by it and this, I think, is a far lesser follow up that I haven't really seen anyone talking about. So I don't know if it's generally considered a disappointment. I mean I sort of put this here thinking it was more up your alley. So if if we're both not really that into it, then maybe we're not the right people to be assessing it. But yeah, for me that this isn't doing a whole lot of the comparison to dance, Gevin dance and and the math core stuff I think comes from, as you said, like the progressiveness here is really with the rhythms, which is accentuated by the vocalist who sort of sings in these yeah, he's he's never singing in the same time signature as the music, which I guess is cool, but I find him really grating, especially on this album. Yeah, what what he's doing is like notably out of time. It never really sinks up and it never coalesces. I think I think that was intentional by them, like, yeah, if they're kind of progginess. But yeah, we'll agree. It didn't work as well as maybe they wanted to. And Yeah, I think I did prefer locusts their their debut a bit more. Yeah, I agree. I think the reason maybe I'm not taking when this album is not because of the band of the sound themselves. I think maybe this is just a week of release. It's quite a fast follower. Yeah, I was surprised when this got announced. Yeah, two years all right, is that all we have to say about said to then I thought they might have been more your things. Yeah, I wanted to like this album more than they would, but I'll say, if you're like into this, just listen to that last snooze album instead, maybe familiaris by them. It's quick. It also really like depressing. The lyrics are about like the life of a dog, which is, as you can expect, me, and sadly. Yeah, yeah, I don't think I want to listen to the last couple of songs on that album, do I? Well, what's the album called again? Familiaris familiar with this? Yeah, right, but yeah, moving on. Um, I want to do great load of I do want to do a gray lotist. Was You the post about this in the in the slack channel first year and he said this is the new project of someone called Juseph Stalin, who I had no idea who they are and still kind of dark. They're like annoyance body who plays Bass or something. He was kind of one of the first big like Gent Youtubers, I guess you could say, like he made a lot of kind of like he had like a Gent Cover of Katy Perry Song that really blew up on Youtube Um because he sings and plays guitar and Bass, so he kind of does like everything on it and it works really well and he put out like a solo project called juseph Stalin's musical endeavors, which is like good. It's kind of standard like two thousand's gent with, but he has kind of like a sort of atypical voice for that sound, like it's like a deeper kind of voice where a lot of that progue style ends to like a higher range. So I was kind of surprised to hear he was teaming up with in American band Um Great Lotus, and had never didn't hear anything really about them until kind of diving headfirst into the album and was immediately pretty blown away by this. I guess you could call it prog metal above everything else, but kind of well, like treading a line between tech death and like progressive deathcore. I was kind of unsure whether to call this a death metal or deathcore album, because there's a lot of both of that in it takes from a lot of like the kind of...

Samarrian core stuff of burn of Cyrus is like the higher place maybe, and other bands like a circle of contempt with that kind of like epic field to which mostly comes out in like the sense the instrumentation here is just really awesome, like it's almost like toasting a bassis esque and some of the parts and and the vocalist is a great job. Like it's he does get pretty death core at times, with kind of like higher, higher screams and stuff and like brutal lows and even some kind of like arch spire like fast parts, which were pretty cool. But yeah, overall this was just like, kind of really like engaging and entertaining to listen to. Like it kind of keeps you like invested in the music the whole time. There's probably one of one of the better prug metal albums I've heard this year. Yeah, I fully agree. I think this is maybe my favorite album we're covering this month. That's probably probably not the great prest shot. I one Um and then this and maybe earlier, but the three that are really steady out for me. But yeah, I think this is great. What it really reminds me of was the first desiderium album, which might just be because they both have these big vibrant purple covers. Like, as I'm doing this, I'm like how much of my opinions about music is influenced by the cover, because I bring it up a lot. But maybe that's more that the covers I've made to reflect the sounds. You see, whereas desiderium had this like darker purple. This is a very bright, lush purple. It's like a sunset over pond with a flower right, and I think that sort of matches it because for as aggressive as this is, like it is very bright and uplifting in places, very very vapor and tell them. Yeah, a couple of people have called this a tech death album and I get that, but for me this is touching a much more broader of just like general progressive extreme metal. Like there's definitely tech death influences and the guitar players, I think it's the guitarist of Equipoise, is in this band as well. So Yeah, Tech Death Influence there for sure, and the vocals definitely drop into death core styles in places, and then the archbier stuff as you mentioned, but I think that's just like some of the influences that are swelling around in here, like it's a lot more diverse than just a tech that album. Like Carla and I went through all the ones that were released in June on that other episode, and this, much like the earlier album, compared to them on album, I think, just goes way more different directions than all of them. And if I'm comparing them. I think it's much better than all of them as well. Maybe not the archaic one, but I haven't really gone back to that. But I put it on par with that at least, and probably more, just because it does so much more things. Yeah, I'm I'm really digging this. It does that thing. This is another thing I'm learning. Is a particular thing about this the year. This is a great year for progressive metal. That's also a year full of albums that should have ended a track earlier. I don't think, as your reign, the last track on this album is bad at all. I think it's like really good, but just dawnfall has this really nice fade out into this rain sound that feels like the perfect thing, an element. It's like, oh, we got six more minutes of shredding to go. Okay, but that that's kind of my only complain about this album. Otherwise, yeah, I really enjoyed like you said, you put it on you it's just captivating. I find like a lot of tech death albums where you sort of have to invest in them, I find this one grabs my attention and holds it a lot more. So highly recommended. Yeah, I think the last song is your reign was their single from it to actually okay, well, yeah, I think it's a good song. Yeah, yeah, kind of a weird placing maybe at the end, but yeah, I think if this album is kind of if you're like a fan of tech, death, General Prague or deathcore, like there's something here for you to like. And if you like all three of those, like, which both of us do, that it's kind of accumulates into an album, the year worthy album. So yeah, I think, sir, like I don't think it's going to be my own with the year and just because of like how much great stuff that has been released, like I think it's even going to get anywhere near the top ten. But if someone said this was the best album of the year, at least so far, I'd probably go yeah, I can see that for sure. And just in terms of like the diversity on offer, like I think my favorite song on it is, and I have to say this word, siziggy track six, which I'm looking at now, is actually the shortest song on the album, under four minutes. But this sounds like traced in air, aerosynic, but then it goes into like a big like iron dissonance style, like Tony Dans and Trap Dance Extravaganza, breakdown in the middle. Yeah, the breakdowns work well on this. Yeah, yeah, they deployed them like there's not one in every song because there was a new lawna shore album, Lawna show song single they got released this this week. Have you heard that? Obviously they're getting a lot of buzz and I think their new material is very good and exciting. But this song came out and that's almost like upbeat, fast, mellow death song, sort of in the vein of that shadow of intent album that came out of this year. I was like, Oh, cool, this is a different thing for him, but I was just waiting for it and then Bam, in the middle they just stop and do the slur chunky breakdown because like that's just what they have to do, and it felt so out of place. And that is to say that every time, like there's not a breakdown in every single one of these songs on dawnfall the gral Sol, but when they deploy them it's like super effective, a good one. I'm very glad you brought it to my attention. Shall we get onto the last of our special guests with I'm gonna say Tick Teller, although I...

...think I've been calling it. IS IT T tellica? I think just tick Tal t, which is the name of a fossil fish. I've been calling it tick telica because it sounds like metallica. It is tick Telica. It is tick Telica. I think that is deliberate for reasons we would get into about. Yeah, most last yeah, this is the debut solo album by Hayk and Guitarist Charlie Griffith. I completely missed this album when it came out, because it actually came out last month and I haven't seen anyone to talk about I mention it, which is surprising. This one just passed me by. I really liked Um affinity from that was like an elmer of the year contended for me, and then I have really not been impressed with their last two albums, though I think a lot of people have dug them, so I don't know if I would have really gone for this. The reason I came across this album is again thanks to you, Trent, because the last episode, you might remember, I was crazy about that Carda ship of album and you were like, well, they're old stuff is better. You should go listen to that. So I did go listen to Carda chef's old stuff and I thought it was okay. Definitely not as good as the new one for me, but I think the difference there is, as you're saying, the older stuff has more of that tech gaze thing, whereas the new ones sort of this post product thing. There's a definite shifting sound set. So I listened to the cardaship albums. They were cool, but I listened to them on spotify and then when an album finishes playing on spotify, it'll start playing things that are similar, and that's what happened here. And I don't know, spotify was on fire because it played a bunch of ship that I have since like gone all in on, just this awesome prog metal Um, and this was one of them. So this is a progressive metal album that is named after a fossil and is apparently based around, like it's meant to be a concept album about an archeological dig that like unearths the origins of humanity and evolution and all that ship. But none of that matters because the first time kicks in it it sounds like megadeth. Yeah, was separate, was not expecting that from hocking guitarist? Yeah, I don't have a huge like background with hocking, or he can. I'm calling him Hagen because I actually I met Colli for the first time at a at a Hagen Chart, because I had I was reviewing it for a magazine here in Melbourne and I had a plus one and I just started writing for head heavy books on your collar lived in Melmo. Said Hey, do you want to go to this gigs or we we hung out for the first time there, UM, and the first thing he told me I was like hey, so you like hock and he's like they're cold Hallara, but color says things weird, so I don't know how much to trust him, Um, but I think it is hacking there. Yeah, they've always been a band that I felt like I should like more than I do. I think it might just be like kind of struggling to get into their vocalist kind of thing. So I've always like I thought their instrumentation was really cool, struggled to totally click with that. So yeah, it was pretty curious to hear how much I would like this and then if it was going to be entirely instrumental and and I'm kind of like pure praggy instrumental albums can get pretty dry and boring after a while. But then the song that really grabbed me was Arctic cemetery, which basically just sounds like a good between the bured and me song like has and like why is no one else talking about this? Like Tommy sounds great here. This sounds like almost like prime beat Bam. So yeah, I think with like any kind of release like this that has kind of like a rotating group of guest vocalists, it kind of enjoyment of it is sort of like tempered by how much you like each vocalist and how well you think they fit into their sound. But I think they did a pretty good job here. Like everyone works with the sound, probably because most of them come from prog metal bands already, so they kind of know how to work with that song. Like like the textures vocalist is in here and sounds great, and I was pretty pleasantly surprised. kind of album for me, having also the mega death influence also just kind of surprising. But it sounds pretty sweet. And I'm not a huge Gadi Fan, but in this context and like a proggier kind of tone. It kind of wish megadeth went more in that direction now. Yeah, this is sort of high bar for the new megadeth album that the singles don't seem to suggest if they's going to match up to. You write about the rotating vocalist, but I think it's it's a bit more coherent, like this isn't an album where like every song has a different guest vocalist. It's yeah, Tommy from between the Barry to me and the guy from textures, and I think that's sort of it. Yeah, I think there's a couple of backup singers. Is a guy named Vladimir Lalik from the band organized chaos. Okay, I'd never heard of and yeah, he's he's the guy on in alluvium, and that's the one I was going to bring up where it sort of sounds like kind of nevermore. Yeah, which Nevermore? Yeah, early, early to mid period. Nevermore isn't a bad comparison to this. Slightly like yeah, proggy, proggy thrash. But yeah, the textures guy, whose name I don't know and I'm not going to bother looking up. He sounds really great on this and he also we reviewed the crown compass album earlier this year that he half of textures are on and and that was really thrash...

...influenced as well. So I don't know if just that there's something going on with, yeah, these prog brands and thrash well at the moment. But yeah, I was really surprised by how thrash it this is and how good it is, and I think that it's called tick tellica for a reason. All right, how are you holding up? You're ready to smash through some supports. Let's run through these. Let's get I'll put these first two up the top for a reason, because these were two other bands that I discovered on that KARDA chief playlist. So the first was an album called near up by a band called the Atlantis chronicles. Yeah, you, Tom and Selum, come out in April. I thought that did come out last month as well. But one from earlier in the year we missed and one that I feel like I've just missed this band overall. was I meant to know about the Atlantis chronicles. Did you know about the Atlantis Chronicles? I did a little bit. Um their last album called Barton's Odyssey. It got a little bit of hype. It has a cool cover you might recognize. You see, it has like just the purple one. Yeah, yeah, I kind of recognized that when I looked them up. Yeah, and it was a bit more of a mellow death than compared to this album. Um, so if you're if you like this but are wanting it to be more mellow death, and definitely check out that. I don't know if I want it to be more Melodeth, because what this reminds me of is protest. To here are plus lamb of God, which is not melodeth. No, yeah, I think that's that's a pretty good take on it, and that is the thing that actually happened, right. They they have Chris Adler. Yeah, on was it volition? Um, but this kind of sounds more in line what I with what I thought the drama from lamb of guy playing for protests, the hero would sound like. It's not as technical or as intense as either of those bands, I don't think. But yeah, I think this works really well. There's also a couple of songs where it reminds me of the safety fire in places, especially in the vocal delivery, and the last song weirdly reminds me a lot of Grozierra, because it's them trying to sound like Groziero with that big like dragging ums. Not but yeah, so not not like an amazing standout, but I was really surprised by the quality of this and Um was glad to have rediscovered it. So worth checking out if you're a fan of any of those bands. Yeah, I found that the vocalists kind of reminds me of from architects a bit, which, yeah, he has that kind of like extreme, kind of like somewhere in between like singing and screaming kind of style. But I mean he's a great vocalist, so it's not a not a complaint. Yeah, I've enjoyed listening to that. Another album I discovered through that playlist and enjoyed listening to or an EP. Actually, Um, is an AP called conjuration by a band called the wind covenant. Yeah, okay, okay, yeah, exactly. So this is like a a five track AP and this is what I'm broadly calling progressive tech metal core, fairly rudimentary stuff in that vein. Like they have a song with the guitarist from board of Osiris is a guest on it. So that sort of tells you what it sounds like, but just a really solid version of this sound that has sort of been done to death. But then hearing this was done at a quality that sort of inspired me again, where it's like Oh, if you do this well, it's not that there's too much of this around at the moment, it's that there's a lot of bands not doing it to this standard. I thought so. Yeah, a better version of that sound than I've heard in a while that I definitely recommend checking out for people who are into the cool side of things, like I kind of wish color was here. I'd like to get his take on this, because I think this would be up his elle. Is this doing anything for you? Yeah, I think you kind of nailed it. It is kind of rudimentary, like kind of cliche tech metal core, but definitely on the above average side of it. I noted that there's a bit of like unprocessed in some of like the riffs, which are really cool. They're definitely one of the better bands at that style, or at least they were. They're kind of going more poppy now. I didn't realize there was a I didn't know down like it's kind of reminds me of that epic Sumarian core kind of vibe that kind of like what Great Lotus has going on at times, but not quite to the extent. Yeah, this is definitely if you're into kind of prug tech, sort of Gent metal core, as is one worth checking out. The next two supports we have a two you brought in. Yeah,...

...the first one is from joy. They're a sort of like, because you could call them like new metal core and like the new metal sense from Texas. This is a little four track EP. They put out a really good album last year. I'm checked it out, called it lingers Um, so I was kind of surprised that they were putting out something it would again already. They're probably the biggest comparison would be vain or N FM or whatever the hell they're coming themselves now. kind of like the modern, like metallic metalcore sound, but they mix in a lot of like break beats and like break core electronic stuff. So the CP definitely is leans more onto the that electronic side, like the first song and the first like half of the next song or almost entirely like atmospheric great core. But they're pretty legit, like they do a really good job of that style, which I'm also into. So if you're not into that, you might be less into this. But then I think when this really kind of goes into a cool and unique places, when the vocalist comes in, who first comes in, basically just kind of like it's almost sounds like intentionally kind of buried into the mix, but it's basically like a break core song with harsh vocals, which is not something you hear a lot of. It almost gives us this like ghostly sound. That's really cool and there's like a vapor wavy kind of song to her part of it. Like ending that basically, if if you want to listen to this and you're kind of apprehensive, just check out the last song, which is definitely the highlight, which they do. It's kind of basically the first time where their metal and instrumentation kicks in and it's just like a really cool bridge between electronic experimental break core stuff in metal core and which is not. I don't know if I've heard it done as well as it is in that song. It's called Daedalus. Did this do anything? Is this representative of it lingers at all, like, is it the same credicsm I'd say the last because I did listen to this and Dadalus is awesome, but the rest of it doesn't sound like Dadalus. Like the first three tracks suggest this instrumental electronic thing and it seems like pretty basicly repetitive to me. It was like, Oh, cool group, and then that group goes on for three minutes and the song ends, which I guess like I don't know if it's a if it's a good version of that or not, and you're saying it is. But yeah, when you got to Dadalus and there was the mix of genres, that was really exciting and good. I wanted more of that, sir. I think it was more on the middle core side. Well, I'm definitely gonna check that out then, because I listened to this and when I want more of that last song. So if you are saying it Lingas is more like that last song, I'm definitely in Um, I haven't listened to this, this next one. If you want to talk about the yeah, Um. So this is a split between under the peer and the God awful truths, who are probably two of the better like newer math core bands are going right now. Yah Yeah, yeah, they're both on the labeled dirt trail records, who's kind of quickly emerging as like one of the best like modern math core labels out there. Actually, if I can pat myself on the back a little bit here, that I introduced friend of the blog, Ian Wilmot, to under the pier like last year and then like a week later he saw that they needed a basis, so I tried out for them and is now in the band. So it's kind of a cool swing of events there. And so yeah, they think they both put out albums in twenty nineteen or so. This is just them maybe kind of like putting out two new songs to sort of stay in the limelight a little bit. I imagine they're working on some longer releases, but basically like heavy, chaotic, energetic, kind of no bullshit math core, like the got off of truth is probably more kind of dillingery Um, kind of more chaotic. There's a little bit of like older daughters kind of stuff going on, and under the pier or kind of lean into like a grindier kind of death core sound like a little bit like the red cord. If any of that sounds interesting to you, Um, if you're into into math core and they're still sleeping on these bands, I think to finally change that and both their both their...

...full lengths and or two of the standouts from you that year. So worth worth checking out. And I think anything dark trail records is putting out lately is generally worthless and one to watch out for. Another one, I think. Another band worth keeping eye on death bringers, who put out an album called it last month. It would try just came upon when we were going through like the the least day round up stuff. I mean it sounds like decapitated, but if they went more in the in the prob direction, I think they were getting towards with the albums like Carnival is forever, which I really liked, Um and didn't go down the groove metal route, but also has a bit of like a there's a bit of like a cyber influence in there in places, and deathcore and things are a good mix of Um, extreme death metal genre is like. I don't think this album like hugely stands out, but there's a lot of potential layer um I think is worth keeping an on. Did you listen to this one? I did. Yeah, it was definitely a fan. I think the decapitated converison is pretty on point, except I like this more than I didn't listen to the full decapitated album, but based on the singles, and she's like this is a bit of a step up from that. And know, yeah, the the sort of pruckness of it was nice, but it's definitely like I would call it, like a groove oriented death metal album, which than anything. But yeah, it's if you're into that style or if you feel some guilt about still listening to decapitated, just listen to this instead. Yeah, that was a cool one. Another another cool album I stumbled upon when going through released a stuff was an album called a weather front by a band called a Boson, who sort out to me because I know that a Boson is a reference to Goth Nix is old king serious, which is about Y, a series about lady necromancers who hang out with cats and ring bells and five zombies. It's pretty cool. I was actually talking about it with eating today. We've recorded a podcast earlier about fantasy books, so that came up. So I recognized that and was like okay, because I've sort of been a waring Boston is the name of like the head necromancer who holds the kingdom together. It's like a pretty cool name and I'm like, I'm waiting for a band to take this on. So I recognize that and gave it a listen and does not sound like a mythical necromancer, because this is a post rock album. Yeah, it's like sort of right on the line between postmark rock and post metal, but sort of heavy, too heavy to be post rock, but not aggret of enough to be person Batal. Yeah, reminds me a lot of early cloud kick off, not just because it's like cloud themed with clouds on the cover. I mean, again, that is representative of they made it sound like cloud kicker wanted to make a cloud themed yeah, this is this is a cool like chill out. Yeah, yeah, cloud kicker setting up. I didn't realize you contribute to the post rock post on the blog. I did not realize as well. So you're you're a post rock guy. Is this decent post rock? It is. Yeah, I think there's there's definitely a fair bit of bands kind of doing this sound. Um, so it's not withn't really anything like totally groundbreaking, but I'm a huge cloud kicker fans, so especially earlier stuff, and this is definitely kind of touched on that enough for me to really enjoy it. Yeah, fairly proggy without really being like yet it's more of a post rock postmail album than a probably album, but there's enough for that to kind of keep it interesting and one of the better ones I've heard this year actually. So yeah, it's been a cool one just to like put on the background when I want to just like chill out for it. Um, I don't think there's really enough going on there for it to like grab your attention on like like an active sort of listening thing. It is more just moody background music, but I think that's what it's setting out to be. All right, when you are going to do a section what I call Josh's thrash corner or something, because I'm the Thrash Guy, I feel the post metal, math core guy or whatever the columns you're doing. I do the thrash column where I'm meant to, but I haven't put one out this year because of life, but also because there hasn't been a whole lot of good thrash metal released this year. I mean we talked about one of the best in creative last month and you weren't that plus by it. So that's where we're kind of sitting after what I think had been too or at least one fairly standout year for thrash. This year there's been a lot of thrash releases, but none of them have really have been breaking through that Fine Barry, and I think that kind of includes all the thrash releases that were released last month, so the most notable of which being there was a new municipal waste album called electrified brain. Definitely, as the...

Thrash Guy, I'm meant to be fast by municipal ways, but I really am not and never have been. They are not my style of thrash metal. I tend to lean to more towards the heavier, groovyer death metal leading side of thrash than the Punky arpbeat Crossover Party thrash that they do. So they've never really grabbed me. But I also just don't think they're they're really that good, although albums sound the same, because all their songs sound the same, except they have that one song with the midpace riff and that's my favorite on the album and it's the same with this album. Yeah, this is doing nothing for me, but I wasn't really expecting it too. But I have to comment on it out of obligation. Did you listen to this at all? I only listened to I looked at the music video for grave Dave, I think, which is a cool, like animated video. I had listened to some you know, supporways back on the day. Um, I think like the art of partying. I had heard a bit of and I'm glad they still sound basically the same, like I applaud their consistency to that. But yeah, I mean there's there's not a lot here that's stuck with. I was gonna say if you like musicial waste, you like this, but if you like music will waste. Like just listen to the art of Party and like I really don't know what these new albums have to offer. But then I mean the cover arts cool. I like that with the guitar going through the guy's head. Pretty sick. verty thrash, you said, I think you said he checked out a video from all of these thrash ones. So the next album I want to do is n side by, I think, Swedish black and thrash on band witchery. Please tell me you watched and listened to the song pope crush off. I did. Yes, I under why. Probably done. I say, that's not fros not. Sorry, already, Mind Day, wait for the day as the black time. So what did you think about Prussia? Another animated video which it seems to be maybe a trend here. It was cool. It was more a death metal than I expected, like it's almost like mellow death, like two thousand's kind of. Maybe because they're Swedish they have a bit of the influence naturally. Um, yeah, it was cool. Um, it wasn't a huge fan, but it's like cool groves, some cool riffs. Yeah, I think I was maybe wanting a bit more like black metal influence. I don't know if other songs. All the rest of the album is is very black and like my one art about park crusher is it sounds it's more mellow death. So that that is a particular think about that song. But it's called Park Crusha. Its fucking rules. The rest of the album is like pretty average, which is disappointing after that being being promising late single. But witchery have never really been a great band, so if they didn't have a lead single called prussure, I don't even know I would be bother talking about them. But they do seem to be killing the album title game on this album, because there is another song on there called the forest of burning coffins, which I just think it sounds B A F c. What else came out this month? Oh, there was a surprise ep release by a band called play years. They put out a four track EP called all the supper. Yeah, play years came out sort of hot on the heels of power trips, nightmare logic, and we're sort of hot tip to be the the next big thing. Put out a couple of releases since then and I think the hypes may be dying down a bit. They it all sort of sounds the same, which is a cool sound. It's sort of like, yeah, they're nightmallogic, power trip vibe, but a bit more death metal leaning. But I think they need to mix it up a bit because even at four songs I wasn't really taken by this one. Was this doing anything for you from what you listened to? If I listened to this one? Actually, that's okay. Um, it was surprise released and yeah, I don't really think it does a whole lot unless they're doing the thing that a lot of bands seem to be doing. See The discussion about blood command earlier, where they put out an EP and we talked about it and then a couple of months later they put out an album, which I un't processed. have done as well, and we've reviewed their AP, and then a month later they were announced an album and all of those songs are on the sixteen track album. So maybe I have to avoid talking about EPS from now on. Another the last thresh album of note that came out this month was one I will was actually fairly looking forward to, which is an album called nerve life forms by a band called critical defiance. Take Out, m HM HM,...

...my dad, Harry Lard Today Story Dad. God, God, I really like critical defiances first album, misconception from which had sort of like an old school raw production to it, but also had these really like long like songs that kind of sounded like moder nine maiden doing fresh. It was really cool, Um, and I quite liked it. Um. So I was looking forward to this and yeah, this one's not doing a whole lot for me. A bit a bit of a disappointment here. This one doesn't really have any of that tread metal stuff and yeah, is a much more, I guess, sloppy sounding. Did you listen to this at all? Just I think when Song wasn't wasn't big under vocals. On this you did have a bit more of like a technical kind of thrash eatness. I thought that I kind of appealed to me. My taste and thrash generally leans more into the tech, tech thrash kind of side. But yet it didn't didn't do a whole lot for me here. Cool album cover that. Yeah, the album cover is cool. I like that. The Blues Um and I do think this is probably the best thrash album that was released last month, but it isn't really saying much and I think is quite a step down from the first record. I didn't excite me as much. Sold Up. We missed one. Another band that was on the list but we just completely skipped over for some reason, is Australian two piece battle grave, a death thrash band out of Mel when I read up their first album, relics of a dead earth, from for the blog and it was pretty impressed. It's been sort of a while for the follow up to come, which I imagine has something to do with covid maybe. But yeah, they released their second album last month, which was called this death already doubt, yeah, yeah, yeah, alright, yeah, yeah, yeah. I was looking forward to this one, but much like the other albums we talked about already, it was left a little bit wanting by this one. I think it's good, I think it's solid, but they've gone in more of a death metal direction with this one. I mean the more extreme stuff was on the debut, but it was definitely a thrash album with death influences, where this seems more like a definitively death thrash record. It's got some cool stuff on it, but none of it really stands out or sticks with me. By sort of making that sound more extreme, I think they've got rid of a lot of the just memorability of some of the rips and the staying power. It tends to all just blend together a little bit. So while at the sound of this, the album isn't really grabbing me. Sir, another solid but unremarkable and somewhat disappointing a threshmttle album there that I just wanted to shout out. That is Josh's thrash blast, which only leaves us with just a few albums that came out yesterday that we we wanted to shout at. What. What did you want to mention? That came out yesterday an album by chat pile, who are a kind of noise rock meets ledge metal, with a lot of other influences going on. This seems to be in one of those like hugely kind of hyped kind of bands. They put a couple of signals, got a lot of attention, UM, like a partly because it's just like really like abrasive and like confronting, like it's I'd say a fair comparison would be that last daughter's album kind of like nihilistic, almost has it very like kind of domanic energy to it, like a lot of just like the vocalists just screaming about I don't know, screamings right, which and tomorrow's like a kind of I think screaming is the Rob Wood. Yeah, it's sort of. It's sort of between like a screed and a scream and a show. Take us that's just like yelling into the void about life kind of stuff. Like the lyrics are pretty like political. Like there's the song why. It's just like yelling about why people have to sleep outside, which is, I mean, a good thing to talk about. Why? Ode? Yeah, why? Why? Why do people have to live outside, intense living, with nothing and horribly suffering? Why? Why do people have to live outside? We have a re sources, you have me. Why? So that is the...

...point where I turned me out mask and I to listen to this, not because I didn't think it was good or anything, just funk man like ship. Got Real girl talking about like, Um, I don't know whatever, bullshit. Um witchery are talking about pope crushing and things, and then you get to this, it's just a guy shouting about why do people have to live outside, and I'm like to fuck so I'm just like that genuinely unsettling and I think you posted on the single from this album when it when it was first released. I watched that. The video for that is unsettling as well. This is a very unnerving band. I think daughter the last orders is a good shout and like, to me this was like industrial idols. It's what it reminded me of from what I listened to. So, yeah, I think this is getting a lot of hype. I mean this was reviewed for the blog and I used to go through and pull out excerpts from the reviews and compare them to what we were saying. But I for not so I don't know what the actual assessment of this album was, but people seem to be digging it, so worth checking out. Jimmy reviewed it and he was pretty high on it as well. Um, he puts it a like like an interview with him it was pretty interesting. The guitarist talked about corn being a huge influence, which I can hear some of, but it's not like entirely noticeable like. I mean I kind of get that from like the first corn album being like confronting and about real life and that sort of thing. Definitely like early, early corn. That kind of yeah, sound. It's I think there's maybe a debate that this this is a new metal album, but yeah, it's not, or at least the true soult as I listened to what yeah, that's sort of in the in the instrumental sort of style, in the general like message of it, I think it's a bit more new metal than the actual sound. But yeah, so then the other one. That was a surprise kind of drop didn't hear anything about its UM is from an Australian dude name Chris in Colesantino. I haven't had the time to listen to this whole album yet, um, but he put out one just last year called Lan that got a lot of attention, UM, basically because it's one of the better kind of fusions of like neo classical music and like atmospheric black metal, and it's just the way he's able to kind of fuse the two without it just sounding like here's the classical part, here's the black metal part, was something that was really impressive. And yeah, seeing another album already, Um, I think if you're into Um, the last album lan, definitely jump in on this. Um. From what I've heard, it sounds like fairly kind of similar way. It's kind of like you could call like optimistic black metal in that way, like it's uplifting and emotional and bright, and album cover kind of represents that. It's like very it's like a cool it almost looks like an AI generated thing potentially, but it's like a sky with like a yellow clouds and stuff. She kind of represents the sound well. So, yeah, obscure, weird black metal. CHECK OUT CHRISTIAN CONSANTINA right. And my recommendation from yesterday that I have not had a chance to listen to yet is Um, an album called the body project by black magnet, which grabbed my attention because of the album cover, which looks like a still from Tetsuo or the iron man. If you've seen that film are aware of it. Um sort of this like industrial body horror collage. I don't quite striking, I think. I think it's a cool piece of artwork and really represents the sound of the album. From what I've listened to with the singles and and the brief skip through I had of it earlier. This is like really mechanical sounding industrial electronic stuff that's just like really dark and threatening. Yeah, yeah, yeah, yeah, yeah, yeah, it's cool if you if you like the industrial stuff that was on that candy album that we reviewed last episode, which I know you didn't Trent, but if the listeners enjoyed that, I think this might be an interesting next step to take into the world of industrial yeah, I'm looking forward to actually getting a chance to sit down and listen to that. Hopefully it's bands up...

...to that promise, but I've been impressed by what I've heard so far. And the other one I just wanted to mention that didn't come out yesterday, but I only discovered it yesterday. Apparently this came out early, at the start of the month, and on the first in fact. Is An album called eternal recurrence by a band called spirals. Yeah, yeah, yeah, yeah, yeah, are you aware of this? It all right? Yeah, this is an album that I feel like everyone a heavy blog should be losing their mind over. Again, I have not had a chance to like fully listen to this, but from what I've skipped through, this is like like white water progressive black metal, but Um, it's it's like four tracks and one is a twelve minute long electronic track, Um, and the others mixing like almost porky Pine Tree sounding classic prog metal and things. Um, it seems like there's quite a lot going on and from the bits and pieces I've skipped through, it sounds like it's doing it at a fairly high quality. So, yeah, if you're into white ward and not all the bands we've talked about, that sounds like white wood. I think this one might be worth checking out. I don't know, maybe it sucks and I can fall up on the on the next episode, but I'm kind of excited to listening to this, I hope but it stands up to my expectations because it seems like a cool release. I'll check and when. Last math core shadow, if I can, is the band the wind in the trees put out their second album, architects, of late that I've been digging a lot. Yeah. Yeah, yeah, it's kind of like a middle ground between math core and like scream. Oh it's like the screams sense of the word and it's just really good. It's kind of that's kind of like the same thing start to finish, but they do a good job of it. All right. Moving on to uncool people. Yeah, let's do let's do a quick uncool table section, but way here to make fun of Shawn Down and their new album planets. They are I said, you you go. Yeah, I'm being put in how I feel about this album. But the point of Bond Cool Bible time is not to just poke fund an album that I know I'm not going to like. The idea is to like maybe give these albums a chance, and I did that with shine down because I saw they had a new album coming out and there a name that I've heard and I'm led to believe are fucking huge. But I believe this is a phenomenon exclusive to the US and North America. Did they have any presence in Canada? Yeah, they've been around since like early two thousands, so I feel like they got some like radio play and they're like rock radios and run some compilation albums and stuff that would have came out around that time. But yeah, not a band I was ever really into. But you had heard them? Yeah, right, because in Australia this whole I don't know what do you call it, like but rock thing that is huge in America because, I say, like festival bills from America and shine down and bands like them are always on them, so high up the bill as well. They have no presence in Australia and and we normally lean into American trash, like we're becoming far more American. I was down here but for whatever isn't apart from nickelback, who who are Canadian anyway, we have not got any of these bands, like even three days grace, a little bit Um, but all like breaking Benjamin, all of that just have no presence in Australia. So shine down her band. I'd heard the name, were led to believe they were huge. Sort of had an idea of what they sounded like, but it never actually listened to. So I thought I'm gonna listen to shine down right. I like a volbeat album that came out last year or the year before. So, you know, maybe I'm in the zoo. And on first listen I was like, Oh, this is all right, this is fine. I just put it on and it sounds like rock. It wasn't amazing, but it was fine. And why does everyone hate this band? And then I started paying attention. Trent, this is a visible because I listened to the singles. I was like cool, I'll check the album. The album is like it's a twenty track concept record with like ten instrumental interludes. That's called planet zero. Have you listened to this at all? Reluctantly listened and watched the video for a planet zero. Like you said, the wit starts off and think, okay, this is something here, like it's got like...

...guitar tone is pretty good and like he's not. It was heavier than I was like yeah, yeah, that was kind of the main thing I taken like I didn't realize they were this heavy, and then it was downhill from there. Yeah, sort of the moment I began paying attention to what was happening, I was like, oh no, because did you did you like, did you watch the video? Yeah, did you see the start of it with the court? Yeah, do you want to explain to take on cancel culture? Basically, what is the quote? So you start the video and there's a fatal black that comes up with a court said. The court is you don't know what you're doing. You don't care who you ruin. Just keep the fantasy moving. It's a hell of a shirt and you know who said that quote. Tread now. But if you you play the video a little bit so you're take in that profound statement, you're like wow, I wonder what genius said that. And the press play and it sits there and I'll tell you when it comes in. And still wait here it is. That court is attributed to shine down, said the court. That fittingative video with. Yeah, and then there's whole things about council culture. They're dressed up in the between the bear to me NASA suits. But it's perhaps pointless and wrongheaded to pick on Youtube commenters, but the youtube comments on this video are just amazing. I realized that people who comment on Youtube videos are like twelve years old or whatever. But yes, there there's one here, and I won't say who it's by about it. I almost always get the chills when any song you put out, but I have never, and I do mean never, teared up like I just did. The song itself was already a masterpiece. Really, listening to the same song, Holy Mother of God, Dot Dot, dot, dot dot dot, the symbolism, the cinematography, the lyrics, all of it is just chef's kiss. So that is the kind of fanaticism this band inspire. But I don't know why. And yes, there's a lot of talking the comments about how profound it is that there's like these little symbols that flash up on the screen, that they actually translate to words, and that that is some kind of profound message that no other artist would dare say. Yeah, there is also one person saying, I love how deep it is, that you are literally stuck between a rock and a hard place. And watch the video. Went Oh yeah, the lead singer is singing the entire song like strapped to a rock at he's like on this asteroid and there's a wall in front of him and I was like, Oh ship, he's literally stuck between a rocket place. So that is the depth of Sibolism, shine down or inspiring, and that is about the depth of their music. I actually, having listened to the majority of the album, this is one of the better songs on it, and I did a quick flick through of some of their popular songs on spotify and Youtube and they are quite awful. So I was willing to like shine down, but I do not for the best. Yeah, you're right. Now I don't have to like shine down, so the real winner is me. Um, shall we close things out, then, with the cool people section, the stuff that is too intense for us, because this, you're telling me, this one is even too cool for you, Trent. Well, it kind of a grower, I'll say that. Wow, where we are talking, of course, about one of the biggest cool albums of metal albums of the year. We're talking about spirit of ecstasy by imperial triumphant, the follow up to their claimed Alphaville. What are they like? Like? Dissondent jazz, Avant Garde death metal in gold masks and New York in the twenties for some reason that I don't really understand. So I did ask you last time if you were much of a fan of imperial triumphant and you said you said not really. So that's why we stuck him here rather than as headliness, because they could have been headliners like these are a incredibly well respected band. So do you have much of a history with them at all? I think I got into them around like vile luxury. I think that was kind of their like breakout album, I guess you could say, in which I kind of like wasn't too crazy about it. And then, yeah, Alphaville kind of lost me a bit. It was did not really work. I think they're going for a bit of like a more like big band influence. Unless I'm mixing two albums, like's more like horns and stuff going on. It was definitely Jazzy, like luxury was more of a disson and death metal and black metal with Jazzy Potts, whereas Alphaville definitely swung more and, if not a majority, like a fifty fifty jazz death metal kind of vibe. Yeah, so then this one, I was kind of glad it was, had less of that, less brassy jazz going on. I felt like it dipped a bit back into vile luxury territory and I yeah, this is definitely not like an easily digestible album, like no, it's kind of it's very, very dense. It's almost like having multip tabs playing audio at the same time,...

...kind of music which, like, if you're not into like avant garde metal, this is I don't know if this is Um will be one for you, because it's quite in that vein. Um, it's very dissonant Um, like I don't like the bass work and here is really awesome, but it almost sounds like he's playing like a different song at times like which like is obviously like what they're going for, and it's like the Times it does work, Um. And Yeah, I think I found this album kind of like an interesting like experiment in constraint and that there's times in this album where there's zero constraint, like it's very almost improvisational like free jazzyness based in what like the guitarists and Bassis are doing, but then they are able to also like dial it in and have these almost like straightforward, like cavemany death metal riffs. Yeah, that they were fat a bit more on this yeah, that I think it gives the album kind of more focus that I think Alf Ofville was lacking for me a bit. So I'm still a little bit torn on how I feel about this album, but I think this might be my favorite from the method so far. And the random appearance of Kenny G. Oh, yeah, I forgot Kenny g's on this album. Yeah, he's good interesting. Well, the thing about Kenny G and and Michael Bolton as well, who sort of went through a bit of a resurgence recently, like they were kicking bags and knows. But the thing about those two is like, rather than the manufactured Pop Stars of the twenty one centuries, Kenny g and Michael Bolton got really big by just being really good at their instruments. They're not really this this cynical corporate thing that I think people sort of attribute to them. They're just kind of like lame because they were popular with bums, but then like they're quite good at the thing they do. So it's it's kind of amusing that he shows up on this album but I guess kind of appropriate as well, like it's tongue in cheek, but I think there's a respect there. Also, I don't know how I how I feel about this one. As you said, it's a grower, but it's still too fully grow I mean I don't know if it's going to get to I definitely don't like this as much as Alphaville. I mean I I too became aware of them with viol luxury, which was an album I actually occasionally listened to for fun, whereas I think Alphaville is an album that I respect, I'm not going to put on just just for enjoyment. They're. Having said that, I revisited on the way to the fit for an autopsy show. I threw it on in the car on the way there and I don't know, maybe I was just in the right mood, but that is the time I have I've most enjoyed it, and I found myself like yeah, really really buying into the mood of Alphaville, like it's got this whole like urban twenties vibe to it, again reflected in the cover, which is striking how similar the Alphaville cover is to the new ghost album. I think there's definitely been a bit of a sthetic influence there. But yeah, I just found Alphaville like really affecting when I listened to it last this one is, as you've sort of mentioned, way jammier. Alphaville felt really deliberate and, yeah, I guess, meticulous in its arrangements almost, whereas this one is a lot more free form, like it almost sounds like a missing link between by luxury and Alphaville. But I understand it also as a reaction to Alphaville that they just want to cut loose with this one. And you said about the like having different tabs open. I think that does lead to its sounding disjointed a lot of the time and for me, yeah, just the times when it does come together are kind of few and far between. I'm not really vibing with this. What you said about Alphaville. It's very almost like thematic. They're going for this big city, kind of metropolis kind of vibe, and I wasn't really sure what sort of like. I guess like imagery or well, they're playing in a cafe in the video for whatever song it is, they're a jazz band in a cafe. But yeah, the cover, like I hate the cover to this album. Yeah, this is like the life of Pablo, of a guard death battle and what is that? But yeah, that that uniformity of aesthetic like isn't there, which makes me wonder, like, would I like this Ald more if it began with tower of Glorious City of shame, which sort of has that Um like escape intro to it, and I wonder if that would help me buy into it more? Because Muir, I'm gonna, I'm gonna be the first person I ever to compare imperial triumphant to a Muir. But I know they fucking suck. Everyone knows it, and I didn't like them at all. except I found myself really liking um their album, slave to the game, I thought was a lot of fun and I wrote a whole review about it, saying that the reason that that album worked in their earlier ones didn't is that slave to the game starts with a thirty second introduction where a guy walks into an arcade and you hear the sound of a coin slot being slotted into the arcade, and for me that put me in the headspace of like, I don't have to take this seriously, I don't have to take it on its own terms. Like that estranged me enough that, okay, we're in a cartoon world, so I can listen to this cartoony music. And Yeah, I wonder if having that buy in of okay, I'm in this weird jazz city open the album might put me in the right head space to come to some of the earlier songs with a more open mind. Because what's what's the name of the first song? CHUMP change? Chump change, which is a weird like name for a song that's like that's a confronting open up like that is a deliberately antagonistic...

...open up, I think, which I guess the point of imperial triumphant is to be obtruse and challenging. But yeah, it's sort of a barrier to my enjoyment, I guess. Yeah, yeah, I don't know. I'm laking this list than Alphaville, where you're looking it more so. Well, act there is something to be said about this band. Is kind of like addressing like capitalism and all that, being anti capitalists, but they come from like a rich background, like I think the guitarist is like a trust fund dude. So maybe a bit more of a nuanced discussion there about sort of the authenticity of that. And they're big into n F T S and stuff. Are they? Yeah, there's an article about how they guy they've made more money from N F T s than they have from the band. If he isn't that, that's because no one makes money from music. That it's not really yeah, yeah, I don't Earth. It seems to be pretty well received. Yeah, I want to talk about this album being being better than Alphaville, which I guess, yeah, you're in agreement with. But even if you enjoy it more like this isn't the the statement that Alphabell was? Like alphabill is a classic album, and that is because the cover is iconic, like it's altogether. This is a cool album if you like it. I guess not really that that statement that Alphabell was. But yeah, I don't know. Maybe I'll go back to it in four years when I'm in a van on the way to a death call Gig. It will clip with me here, knows? All right. Well, thank you very much for joining me on this and the last episode at Trent. I'm sorry both of them ended up being a bit of a logistic hastle for you, but I very much appreciate your efforts and have enjoyed talking to you about all these albums. You are welcome back anytime you feel like it. I was wondering if maybe you wanted to make like Trent time a semi regular thing where just when you feel like it, you can jump on and tell us about some ship we haven't covered, do a guest feature on when you're doing a carlow even something. Yeah, yeah, so whenever you feel about it. But yes, hopefully color will be back next month where we're going to be talking about some interesting albums, let's say tentatively, from machine head and psycroptic and normal gene um and then a whole bunch of bands, our enemy, soil works, soul fly, and I'm very excited for the return of hair metal with the new heat album sir. Yes, very excited for that one. But color should be back by then. Do you have anything you want to say before I let you go? Trump, yes, it's been fun. Again, I think I think it's kind of interesting. I think we have fairly like similar tastes and a lot of things, but kind of come at it from like kind of different backgrounds in some ways. kind of got there from different ways, which gives us kind of different perspectives on some of the stuff which you know, makes very some interesting discussions. You've definitely given me a list of things to listener. I'm going to check out that from dry album for sure. All right, well, thanks a lot. UN Til next time, enjoy your screamer festival. Thank you. Thanks. Trying later. Christian Constantina. That is the name of a magician who is the son of my primary school principal. Yeah, the Great Constantino. I think he...

...was on like Australia's got talent. I used to deliver his mail. I doubt it really, Christian. MM HMM. Wow, I wonder if it's the same person, because this guy's Australian. Yeah, he looks like it could be a magician here. I'm I'm all right, Um, that will all get edited that. Um, I don't know. The second album is called MIA. Then they made an album that sounds like Finn Lizzie. That was really bad, and they came back with an album uh, like like with with the Baroness Guy. I work on the cover. This is this is meant to be a elevator pitch. I don't have them because I don't even like them, like like the one, the one. Everyone said this is like the best album of the decade and then the and sort of didn't really follow it up.

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