Tuesday, 12 November 2019


GenresPunk / Hardcore / Emo / Screamo / Skramz / Emo-violence
Related artistsKomarov, I Don't Want To Know Why The Caged Bird Sings, Ennui, Ergonomic Management Keyboard, For This World Is Hollow And These Hands Have Touched The Sky, Piss Kidney, LadstormThisismenotthinkingofyou, Working Man Noise Unit, Witch Cult and Virgin Dad.
CountryLeeds/London U.K.
Years Active2013-present
Song: "Void/Impasse"
Album: "Silence Will Not Protect You"
Year: 2019
For fans ofLa Luna, Guidelines, O'God The White Whale, Welcome The Plague Year, Komarov, I Hate Sex, Coma Regalia, OsoLuna, Suffix, Kilgore Trout and Hiretsukan.
Label(s): Self Released / Middle Man Records / Zegema Beach Records / Wolftown DIY / Boslevan Records / Cave Of Roses / Lunar Lander Records / Meatcube Label / Kakusan Records
This post's artist is from the October 2019 Mix. This is track #1.
You can download: the November 2019 Mix#11 right here or get the new December 2019 Mix#12 here

CADY are a punk/hardcore/screamo/emo-violence band from the United Kingdom that began in 2013 as a two-piece and have undergone a couple of member changes. I first became aware of them in 2018 when I helped release their 4-way split 10" thanks to Shawn Decker aka Middle Man Records. I was told at the time that the songs had been recorded a while back and that they had since acquired a new vocalist, but that didn't stop me from the loving the shit outta those two songs. Then in 2019 I saw them fucking shame everyone (in a good way) at Cry Me A River Fest in Versmold, Germany. Not only that, but their cassette released this year entitled 'Silence Will Not Protect You' is easily contender for EP of the year.

The band's first release was a very early demo that I am in the process of acquirng and then posting here. Officially their debut release is a cassette called 'Demo '14', a three-track barrage of dark, throaty hardcore/screamo. It's a good introduction to the band but certainly not a good indication of their sound in 2019. This release is not on bandcamp but Loz just tossed me the tracks so I've included them to download and put one of the songs on youtube. Have at it here!

'Zodiacal Dust' came in 2015 by way of cassette and contains four tracks of hardcore punk with a few screamo leanings. I enjoy the release but the lack of extremes (in both directions) leave me wanting to fast-forward to later material. That being said, I'd wager that "Dust Clouds" might be the heaviest thing the band has recorded and "I Hope You Get To Enjoy Half An Hour In Heaven Before The Devil Knows You're There" is a pretty awesome closer.

The following year 'Isle of Flowers' was released on 7", again containing four jams, albeit much more screamo as is shown during the intro guitar section of opener "Dock Ellis" and subsequent ass-kicking. "E. Bloch" is now a personal favourite after filming it with new vocalist Polly at CMAR. It was epic as fuck and is a must-watch below in the youtube embeds. From 45 seconds onward this song is absolute perfection, both on recording and live. "Bitter Lake" has excellent, interchanging vocals and closer/title track "Isle of Flowers" is slow, brooding and epic, as well as perhaps the most reminiscent of CADY's other half Komarov.

On the first half of their 'Desolate Hands Move the Hour' contributions, the band blasts through 2:11 of very heavy, screamy and growly screamy hardcore with a few mild metalcore leanings. The final half, "Beyond Being Seen", is another banger with a final minute that might just be the highlight of the entire split.

2019's 'Silence Will Not Protect You' is, simply put, incredible. With the inclusion of vocalist Polly the band ventures into new waters that definitely include O'God The White Whale, Guidelines and Hiretsukan, and it's all fantastic. The first track is worth $5 alone, as "Void/Impasse" opens with a lone guitar riff that soon builds with the drums and bass and eventually feedback until a slight stop lets Polly in and the flurry of screams begin. The emo-violence spliced with breakdowns is much appreciated and, in my opinion, underutilized. "Humiliation as a Political Reality" injects a slow build and spoken word before delving into some tremolo territory and a sick-ass groove at the one-minute mark. "Failed Morality" begins in similar fashion to its predecessor but goes lightning speed come 30 seconds and leaves the jammy section until two minutes in. Closer "Living in Silence" is stupid. I'm sorry, but it's fucking stupid. Stupid good, and the best song on the EP. After a chaotic initial blast, the song flourishes around beautifully toned guitars paired with stick-clicks that bring us to a standstill at a cliff's edge, and Polly's screams push everyone over the edge. In all of the shrieking, pummeling confusion, CADY manages to seamlessly blend in more grooves as well as a second epic transition post-two minutes. And good grief, that throat-splitting breakdown that closes the EP is otherworldly.

It should also be mentioned that Tom (bass) and Loz (drums) also play in Komarov, with the former helping record and tour in Coma Regalia, among other things. I do believe we'll see more material in 2020 but don't quote me. I am...hmmmm...elated...yes, elated, that this band exists.



2014 - Demo cassetteEP (download here)

2015 - Zodiacal Dust cassetteEP (stream/donate/download here)

2016 - Isle of Flowers 7"EP (stream/donate/download here)

2018 - Desolate Hands Move the Hour split 10" w/Majorel, Coma Regalia & Agak (stream/donate/download here) [buy from ZBR distro U.S.A. here]

2019 - Silence Will Not Protect You cassetteEP (stream/donate/download here)


(2019) CADY - "Living in Silence" (from 'Silence Will Not Protect You')

(2019) CADY - "Void/Impasse" (from 'Silence Will Not Protect You')

(2019) CADY - "E. Bloch" live @Cry Me A River Fest

(2018) CADY - "Beyond Being Seen" (from 'Desolate Hands Move the Hour')

(2016) CADY - "Dock Ellis" (from 'Isle of Flowers')

(2015) CADY - "I Hope You Get To Enjoy Half An Hour In Heaven Before The Devil Knows You're There" (from 'Zodiacal Dust')

(2014) CADY - "H.H. Holmes" (from 'Demo'14')


CADY additional links

Friday, 8 November 2019


GenresPunk / Hardcore / Post-Hardcore / Post-Metal / Screamo / Skramz
Related artists: Deuil, Wyatt E. and Torn In My Pride.
Country: Liège BELGIUM
Years Active2007-2009
Song: "Derrière le voile et la croix, elles acceptent la mort"
Album: "Ils consomment, tuent et prient mais ne pensent pas"
Year: 2009
For fans ofBökanövsky, The Solexine Chapter, Lakmé, Aleska, Potence, Amanda Woodward, Aussitôt Mort, MilanKu, Ema Camelia, Aporia, Envy, Rosetta, Daïtro, Sed Non SatiataI Was A Cosmonaut Hero, Mesa Verde, Le Pré Où Je Suis Mort, Mr. Willis Of Ohio, Only For The Sake Of Aching, Captain, Your Ship Is Sinking and Les Deux Minutes De La Haines.
Label(s): Self Released / Let The Tigers Out Records / For U & X aka FUX / Ruin Your Fun Records / Internationale Records / Swarm Of Nails / Still Leben Records / Utarid Tapes / Chucky The Rat Records / Heart On Fire Records / Hidden Rainbows / TRVS Records / Субъектив / Swarm Of Nails
This post's artist is from the October 2019 Mix. This is track #2.
You can download: the November 2019 Mix#11 right here or get the new December 2019 Mix#12 here

ISAÏAH were recently introduced to me, and after hearing a few tracks I was pretty much smitten. The Danish band played a very French-sounding screamo/post-hardcore sound not unlike The Solexine Chapter, Amanda Woodward and the almighty Envy from Japan. I have been unable to find their 2008 self titled cdr but everything else is available online and truly exceptional.

As I just stated, the band released a demo cdr titlded 'Isaïah' in 2008. In 2009 they released a ridiculous amount of material...over 13 tracks spanning over an hour of music. On their only LP '' opener "Quand les flammes viennent des occupants" lets loose 30 seconds in with beautifully tortured screams amidst powerful post-hardcore, but after the minute mark we are in lala land with an ethereal instrumental passage. ISAÏAH does that sometimes, kicks your ass and then heals you. The closing minute of the opener definitely leaves you in the ditch, broken and bloody by means of a trainwreck breakdown. "Des enfants, j'aurais dû le tuer deux fois" follows a similar trajectory but the instrumental break is much darker and foreboding. The next track "Derrière le voile et la croix, elles acceptent la mort" is probably my favourite of the batch, as it lays into the listener from the get-go and drags them down into the fiery subterranean depths from which it was birthed. "Yo...chill out there Dave-o." Aight so next is the bassy blast know as "21 - 28 mai 1871" cuz goddamn, that's some bassy basserson. "Dave...you doing okay?" Oh, ahem. Uhhhh...fuck. Oh yeah, track five's "Des chiens de garde et des cerbères" and finale "Enfants de l'apathie" clock in at around 8 minutes apiece, and are as epic and lush as you'd expect from the band. Track seven is the shortest and perhaps most aggressive song "Euthansie De Nos Ames Perdues", positioning the band at the other end of the spectrum. "Well done, Dave. You're back on track." Thanks imaginary me.

Their other release in 2009 was a 'split w/The Bride Of Changes', apparently released the exact same date as their LP. These six tracks also appeared on a 'Tour cdr' that came out at an undetermined time. They open with "Le désir d'a(perce)voir", a gorgeous, swaying and entrancing post-hardcore/post-metal/screamo number that is classic ISAÏAH length at 4:35. "Mémoires d'un vaincu" toys with the listener for a minute before telling Chewbacca to fucking punch that hyperdrive throttle, and punch it they do. "L'angoisse d'une réussite éphémère" is a helluva lot more playful and positive sounding, therefore coming across more like Le Pré Où Je Suis Mort than The Solexine Chapter and Lakmé, although that ending is something fierce. "Interlude" is just that, a five-minute, ambient, instrumental passage that leads us to "Euthanasie de nos âmes perdues", the only song repeated on both the LP and the split release. This is understandable, it's a fucking banger. I should mention that there is a short instrumental opening not included in the LP version that is a nice touch. Closer "Le poids des mots" is ridiculous. Goddamn that shit is a 10/10 without a shadow of a doubt. The intensity is so strong you'll likely feel a slight g-force before an awesome, chill-yet-epic Euro-screamo instrumental section.

The band's final output came via Moment Of Collapse's 'Connections Part 2' 12" split/comp. These two exclusive tracks are excellent and a fitting close to the band's incredible existence. Beginning with "Qu’Ils Crèvent Enfin…", the song is ripe with electric riffs that take it into the spacey, Rosetta sector while "…Et Nous Laissent Décider" is the band's shortest ever song (2:28) but again the very uplifting vibe shines through and makes this much more spacious and epic than chaotic and intense.

So there you have it, and hot damn it's..."noooooo Dave don't do it!!!" (arguing/fighting)


Click )==>here<==( to download the band's complete discography in mp3 form.

2008 - Isaïah cdrEP (download here)

2009 - Ils consomment, tuent et prient mais ne pensent pas cd/12"LP (stream/buy here)
2009 - The Bride Of Changes split cd (stream/donate/download here)
2009 - Our First 2 Years Discography cassetteLP

2010 - Connections Part 2 12"LP compilation {contributed "Qu’Ils Crèvent Enfin…" & "…Et Nous Laissent Décider"} (listen here)

???? - Tour cdr (same tracks as the split)


(2009) ISAÏAH - "Foi en la démesure" (from 'Isaïah')

(2009) ISAÏAH - "Derrière le voile et la croix, elles acceptent la mort" (from 'Ils consomment, tuent et prient mais ne pensent pas')

(2009) ISAÏAH - "Euthansie De Nos Ames Perdues" (from 'Ils consomment, tuent et prient mais ne pensent pas')

(2009) ISAÏAH - "Quand les flammes viennent des occupants" (from 'Ils consomment, tuent et prient mais ne pensent pas')

(2009) ISAÏAH - "Mémoires d'un vaincu" (from 'The Bride Of Changes' split)

(2009) ISAÏAH - "Le poids des mots" (from 'The Bride Of Changes' split)

(2009) ISAÏAH - "Le désir d'a(perce)voir" (from 'The Bride Of Changes' split)

(2010) ISAÏAH - "Qu'ils crèvent enfin..." (from 'Connections Part 2' comp)


ISAÏAH out of print mp3 discography download


Wednesday, 6 November 2019

***SAWTOOTH GRIN exclusive interview***

Exclusive 2019 Interview
by: Tarquin Jones

In case you missed it, which you probably did, the long-awaited 'Cuddlemonster' 12" by THE SAWTOOTH GRIN sold out in less than an hour, with two of the three variants lasting only five minutes. Will it be repressed? No, that's not how Wax Vessel rolls, so we can all stop asking. All the more reason to stay on top of new releases...psssst the next one is November 18th!

Hi, Rich. How are you keeping?
R: Hi! I think I'm keeping well. Well, but busy. Too busy? That's the real truth of it, right? "I'd be great if it wasn't for all the things I have to do." Life is mostly great! Husband, Dad, Home owner, etc. I have a lawnmower, it's electric. I think a young person would look at my life and classify it as boring. That thought works for me on every imaginable level.

Could you tell us a bit about how the band formed, what inspired the name and what lead to the band's initial exposure back in the earlier days?
R: Well, Thomas and I were in a local Westchester band that sort of sounded like Shai Hulud. 6 people in that sonofabitch! Two singers! Anyway, when that band split, half of us formed Sawtooth, and some of the other guys would go on to form the Heatherton Heatwave. I had the name bookmarked in the back of my head for a while. Something to evoke... not toughness, but insanity. The band formed in 99 or 2000? So long ago. The initial lineup and material looked and sounded quite a bit different. A bit of an early Cave In vibe, maybe a little dirtier sounding. We even played a gig! This first incarnation of Sawtooth fizzled a bit after writing a few tunes. The Heatwave started acquiring members from across the Hudson River, in Rockland County. That's how we met Jay, and eventually Chris Russell. We were then, very much, off to the races, so to speak.

What was the writing process like for the band's material? I've noticed some Jazz influences creeping in for example. Did you take any other outside influences into the songwriting approach?
R: My approach was to pester the rest of the band to write material that was less appealing, more obtuse, and harder to like, all while knowing significantly less about playing music than anyone else in the band. It's the Captain Beefheart method, and I swear by it. 

Rich you are well known for your distinctive high pitch screams. Can you elaborate on the artistic choice for this direction?
R: The only really intentional choice I made was that I was going to scream for real. So many of the genre's vocalists do what I call "aggressive music vocals TM". It sounds like a scream or a roar, and maybe it's a cool or tough noise when amplified, but, in reality, they're  barely above speaking volume, doing an impression of a tiny gremlin. My whole thing is that I scream, as hard as I can. What comes out of me is less conventionally cool, but arguably more authentic. I don't sound tough, I sound like maybe I'm being killed. Some people think it's great, and some people hate it. Polarizing a demographic suits me just fine. I could teach a class on it.

How did you approach penning lyrics for Sawtooth's material? Were there any particular themes or did they draw from personal experiences?
R: I hate lyrics. Obviously, that's a sweeping generalization, but go with me on this one: I have nothing important to say. I'm not particularly political, so I steer clear of that because A: How much of a beating can that dead horse take? and B: I'm kind of an ignoramus! I don't watch the news or pay attention to anything outside of my own interests. So, if Sawtooth's lyrics were political in nature they'd be both dumber and more derivative than they already are! Something else to note is that I'm also not a particularly emotional person, so I try to stay pretty fictional when I write. I live a happy, drama free existence, but I've always been drawn to dark fiction. I was thinking about it the other day: "Do I actually like anything that's pleasant?" The answer is "No", I guess. I'd much rather be a proficient band that's generally not about anything. The Seinfeld of Loud music. I've always said "What we have to say isn't as important as the sound we use to say it".

Were there any bands that you would cite as influences that helped to mould the direction of the band?
R: I think we had a lot of different influences from band member to band member. There was a fair amount of shared interests, for sure, but I think, if you could talk to everyone individually, you'd get a lot of different answers. For me, vocally, I had to spend a fair amount of time looking outside the genre. Looking at James Brown or Wilson Pickett, who had really great, authentic screams. Within our more applicable spheres, I gravitated towards Grindcore and it's offshoots the most. Discordance Axis, Mortalized, and Naked City were big eye openers for me. As for other subgenres that end in "Core" there were a few standouts. I really loved what Drowningman was doing vocally, and anything Steve Austin produced, primarily because he'd do backing vocals on those records in addition to producing. At the time, I was listening to plenty of death metal too, but none of it grabbed me, vocally. For all that incredible musical brutality, A low growl very rarely measures up.

What was the process like whilst recording both Cuddlemonster and Pervavor?
R: Not nearly as horrible as I would have expected. Borderline pleasant, even! Of course, we had an ace engineer in Jay DeZuzio. He really took care of us and made the best effort to capture the very specific thing we were angling for. Regarding the vocals: We took a very expensive studio mic and stuffed it in the back of a piano. Then I had a handheld to scream directly into. So we had the two mic's going a bit hot to get that live feel. A studio setting can really suck the life out of a scream. Especially if you cultivated said scream in a live setting. I also tried to not go too crazy doing take after take. One or two runs through each tune and a bit of doubling up for some gang vocal moments. I think we hit an interesting mid point between psychotic and annoying. My true wheelhouse.

Can you list some post Sawtooth projects that you have been involved in? Are there any current projects in the works?
R: Well, I did Cloacal Kiss, Snake Baptist, and Old Painless. Of those groups, Old Painless technically still exists. We play occasionally and are lazily threatening to record a full length. File that under "Someday". I've also got a bit of a long distance, internet project going on that's basically ready and waiting for me to throw vocals all over. The problem is that, without being in a band that practices regularly, I don't have a space that's easy to record in. Plus, I'd rather record after getting fully back in vocal form. I think I'll end up recording that stuff when we get around to doing the Old Painless LP, as we'll have had to have practiced our asses off to make that happen.

Were there any contemporaries during Sawtooth's existence that you would have liked to have collaborated with, be it a split release or guest feature on a particular track?
R: I've always had a pretty strict "No guests" policy about albums. Something about wanting the authoring band being responsible for all the sound you're hearing appeals to me greatly. With that being said, I've always had this idea that it'd be pretty neat if we could've done a spit with a band, and instead of it being "Here's some Sawtooth tunes and here's some tunes by another band", we'd just create one big band and co author a batch of tunes. I'm not sure what bad would've been best to do that with though.

What are your thoughts on the current revival of this particular era of noise based music, especially bands who cite Sawtooth as an influence?
R: I still can't believe that anyone would look to Sawtooth for inspiration, but the idea that bands want to push forward in this direction again is great. For a while now, I've felt that aggressive music in general has reverted back to the ideas and tendencies of a bygone, long surpassed era. That's great if your only agenda is to prove that you're well versed in the history of Grindcore, Hardcore, or Powerviolence, but it ignores what I consider to be one of the central principals of aggressive music. To escalate. In recent years, we've seen bands strip away their most visceral and technical elements in the name of  "Experimentation" or "Maturation" but what they can't claim is that they're escalating their sound. They're not playing faster, or crazier, or more technical. They're using aspiration terminology to justify playing beneath themselves. That's why I'm so excited about this current revival. The possibility of the return to escalation.

Do you have any interesting tour stories?
R: Jay and I once got pulled over on an overnight drive from Ohio to home. I was falling asleep and all over the road when we were stopped by some state troopers. They shone a big light on us and asked that I step out of the car. What I had forgotten was that I was actively wearing two Roy Rogers french fry holsters on my belt that I had put on after eating at a rest stop earlier in the evening. Once we got past the moment where the Troopers almost shot me over it, we all found it pretty funny. In the end, I thanked them for pulling me over, as I would most certainly be wide awake for the rest of the drive home.

What are you listening to right now? Anything you would recommend?
R: Besides podcasts about pro wrestling and Twin Peaks?  I just got off a big Harry Partch jag. He was an American composer who invented his own scales and instruments. He was born in 1901, so none of that stuff is new. I like the newest stuff from Beirut and Neko Case a lot. As for loud stuff, The new Fawn Limbs and No One Knows What the Dead Think have my strict attention.