Saturday, 21 September 2019


GenresPunk / Post-Hardcore / Post-Metal / Black Metal Sludge
Related artistsAmber, Archivist, Anteater and Anopheli.
Years Active2014-2017
Song: "Faroe"
Album: "Thurm"
Year: 2015
For fans ofHope Drone, Hexis, Rorcal, Celeste, Plebian Grandstand, Tentacles, We Are Among Storms, Still, Red WaterNic (aka ██████), ['selvə], Amber, The Pax Cecilia, Buried Inside and Underdark.
Label(s): Narshardaa Records
This post's artist is from the August+September 2019 Mix. This is track #8.
You can download: the August+September 2019 Mix#8+9 right here or get the new October 2019 Mix#10 here

Today's post begins waaaaay back in 2013 when I first started Zegema Beach Records. The very first ZBR release is Amber's 'Amber'. I still fucking love Amber, but the band broke up back in 2014. Vocalist Anna had recently left the band and joined new bands under my radar, and it wasn't until early 2019 when a friend (hi sour patch bro 💗) recommended that I check out THURM that I made the discovery that the vocalist Anna is one and the same. I've also been jamming the new Archivist LP which, it turns out, also features Anna. Goddamn, she's everywhere!

So, THURM were from Germany and played a dark, venomous and throbbing brand of black metal most comparable to the almighty Celeste, but with vocals that are even more destroyed. They released but a single 12"LP titled 'Thurm' in 2015. I will waste no time in commenting on the fact that I saw a video from 2016 of the band in the studio, and they broke up the following summer after a I have to ask...where is the material from the studio? Gawwwwwwwdammit.

Anyhoos, let's discuss that incredible self titled LP, shall we? It begins with "Modern Slavery Exists", an outright assault on the senses. It reminds me a lot of Rorcal and Hexis, and hits a killer groove come 2:08 that explodes at 2:34, which Hope Drone would most definitely high five. There is a ray of hope that shines through once minute three hits, but the positive sound is very rare and seldom found on this full length. The relatively short "Faroe" is an even denser ball of rage, as it barrels through in only 3:11 but manages to tear the listener apart with utterly unrelenting black metal. One of my favourites is "Children of Darkness", a fucking ripper with drums so fast that you'll need to see the doctor due to perforated eardrums. Oh, and there's a section in this track at 1:16 where there is an apocalyptic breakdown that is one of the most evil and sinister things I've ever heard. "FGM" features a sick, cavernous and thunderous midsection that is essentially half of the song while "Enough" is the longest, most epic song on the record, weighing in at 6:27, and therefore being much more Celeste in length. "Shores" is a slow, brooding nightmarish ordeal that straddles a drum beat until 2:30 when they lay on the devastation. Closer "Dawn" is my personal favourite. Why? Because it's fucking awesome. Please expand? Okay. First, it's set at a breakneck speed but includes a ton of ridiculous quick shifts and stop/starts. It may not be the longest song here but it certainly has the most parts, and each part is its own beast that fits together like the ultimate black metal Voltron. Oh, and the epic conclusion brings to mind Buried Inside with dual vocals and an unsettling lyrics on repeat, "We cannot rebuild what is lost forever!"

I was late on this band, but goddammit better late than never.



2015 - Thurm 12"LP (stream/donate/download here)


(2015) THURM - "Dawn" (from 'Thurm')

(2015) THURM - "Children of Darkness" (from 'Thurm')

(2015) THURM - "Modern Slavery Exists" (from 'Thurm')


THURM additional links

Thursday, 19 September 2019


exclusive split premiere
For fans ofFrail Body, Suffocate For Fuck Sake, Eyelet and Viva Belgrado



Yooooooo check out this new, stellar, four-track split between two incredible new Copenhagen bands. DISILLUSIONIST revealed a music video here nearly six months back and play a sick screamo/melodic hardcore hybrid, while REGARDING AMBIGUITY released an excellent six-song debut in February that caught many's attention. The split will be released on cassette by the bands and start shipping in October.

(2019) 1 - DISILLUSIONIST "Breach" (from 'Split')
DISILLUSIONIST's opener starts gritty but injects a wonderful spacey riff over it all, creating a wonderful juxtaposition that continues to build in epic fashion until its 2:34 conclusion. And ooooo baby I love dem dual vox. I think Young Mountain and Okänt are pretty good reference anchors for this track.

(2019) 2 - REGARDING AMBIGUITY "Let's do like pugilists and throw our fists" (from 'Split') official music video
On September 2nd REGARDING AMBIGUITY premiered their music video for this song, and it's a fucking banger. The throat-shredding screams and thunderous instrumentals really hit from the get-go, with a dark and eerie midsection that is lifted come 1:30 with a beautiful climax. I get some Chalk Hands and Frail Body feels from this.

(2019) 3 - DISILLUSIONIST "The Oath" (from 'Split')
The second DISILLUSIONIST song is much more post-hardcore than the first track, creating a warm ambiance with slow, methodical instrumentals and semi-spoken/semi-screamed vocals. Once 1:10 hits we are met with a quick heavy section before reverting back to the head-bobbin' opening until they ditch it at 1:48 for the screamier stuff...capped off with a short instrumental close.

(2019) 4 - REGARDING AMBIGUITY "Keep Running" (from 'Split')
Closer "Keep Running" is a pretty lengthy track, almost equaling the other three combined. It features some very Swedish sounding guitar-plucking and anguished screams for the first three minutes before considering heading down The Exploration's old neighborhood, finally opting for epic post-hardcore/screamo instead. It's a beautiful, ethereal and enthralling conclusion that goes supernova come 4:40.


***CROWNING / SWALLOWS NEST European Tour Doc trailer***

For me, watching this 1:26 trailer for the CROWNING / SWALLOWS NEST European tour documentary is like getting slapped in the face with 1,000 beautiful memories all at once. It's staggering. But for most it will be a relatively simple screamo tour doc teaser. Regardless, I think everyone will find it say the least. The full thing will be around 30 minutes in length. Put together by Dave Cullen over many days and nights. A ton of friends helped make this and we’ll let you know all the details on its release Wednesday, September 25th, 2019.



Wednesday, 18 September 2019


Genres: Dissonant Hardcore / Mathcore / Grindcore / Math-Grind / Death Metal / Death-Grind / Math-Metal
Related artists: Creinium, Infinite Nomad, Mireplaner, Lung Knots, PsyOpus, Commit Suicide, Allan, Overlord Exterminator, Alphanumeric, Artificial Brain, Luminous Vault, Gath Šmānê and Aeviterne.
CountryHelsinki, FINDLAND & Pennsylvania/New York U.S.A.
Years Active2018-present
Song: "Ore Lung"
Album: "Harm Remissions"
Year: 2019
For fans ofInto The MoatMeshuggah, Car Bomb, Ion Dissonance, Crowpath, Discordance Axis, See You Next Tuesday, The Red Chord, Ulcerate, Full of Hell, Pyrrhon, Vermin Womb, Nightmarer, Frontierer, Coma Cluster Void, Psyopus and Tony Danza Tap Dance Extravaganza.
Label(s): Self Released / Wolves And Vibrancy Records / Roman Numeral Records / Sludgelord Records / Dark Trail Records
This post's artist is from the August+September 2019 Mix. This is track #7.
You can download: the August+September 2019 Mix#8+9 right here or get the new October 2019 Mix#10 here


Fawn Limbs are a transatlantic math-grind project originally consisting of Eeli Helin (Infinite Nomad, Mireplaner) based in Finland handling all of the vocals and stringed duties and Lee Fisher (ex-PsyOpus) based in the States handling all of the percussion. My initial introduction to Eeli's musical pursuits was by previously featuring his chaotic post metal project Mireplaner on a multi-genre digital sampler for my old blog Reign of Low. I was absolutely blown away by what I heard on the debut EP from the band entitled, 'Diapiric'. With just two tracks and the band's fresh approach on the post metal genre, I was instantly hooked. I highly recommend checking them out and exploring their latest release as well.

After a short while Eeli mentioned to me that he had a new math metal / grindcore focused project in the works and that it would be coming a few months later. I was eagerly awaiting to hear it and knew it would deliver the goods. Enter the destructive sonic powerhouse, FAWN LIMBS.

Since the band's inception, they have kept themselves busy by releasing 3 well acclaimed EPs during the fall of 2018 and delivered a bold single to boot. Examining the band's impressive material, one will notice that FAWN LIMBS expertly showcases their honed songwriting prowess and tightly woven musicianship from their previous projects. They have also established themselves as absolute masters of incorporating calculated bursts of mathematical chaos, grinding savagery and unsettling walls of dissonance in a unique fashion. Over the course of each release, the band has also shown a progression of their sound. Some of the material focuses on highlighting the emphasis of intense technical ferocity and accompanying it with pulsating groove laden passages. On other tracks the band experiments with sonic aural textures and dense soundscapes to elevate the moody atmospherics. This juxtaposition of approaches creates a truly cathartic dynamic for the band's overall direction.

As of January 2019, Samuel Smith (Artificial Brain, Luminous Vault) was introduced into the fold. He is also based within the States and will tackle all of the required bass duties. This inclusion has further rounded the caliber of FAWN LIMBS capabilities in terms of songwriting and musicianship.

On August 2nd 2019, FAWN LIMBS delivered their highly anticipated debut album entitled, 'Harm Remissions'. This is also the first offering on which Samuel Smith features. The album features 13 destructive tracks, which from the very beginning moments hit the listener like a freight train. The production on the album offers a sense of primal rawness, whilst still maintaining an organic feel amidst the calculated attack of the band's musicianship. The album's mix also allows for each instrument to be heard distinctly and shine clearly. This further enhances the overall ferocity and barrage thrown at the listener when the play button is hit. The tones of the guitars on the album are disgustingly twisted and the bass has a pulverizing brooding boom. I'm especially drawn to the percussion section, as the drum sound packs one hell of a punch. I also really enjoy the jagged roughness that is captured within the vocals. They highlight Eeli's range and scathing lyrical delivery.

In terms of the album's instrumentation, 'Harm Remissions' features buzzing and squealing frenetic guitars. Eeli creates an absurdly jarring and cacophonous energy with his explosive guitar work. The wall of amplified sound bombards the listener with such a dizzying effect. It will surely leave your head spinning, trust me. Offsetting all these wildly charged moments are the clever usage of crushing breakdowns to pummel the unsuspecting listener into further oblivion. There are also some very brief moments of melodics in which the listener will try to cling to and find their bearings, only to have it swerve into another direction completely. Fawn Limbs guitar and thick sounding bass are all locked down by the furious percussive work of Lee Fisher. He has a masterful stroke of combining technical patterns with immense groove and feel. Eeli's thunderous roars compliment the volatile mayhem of all the instruments. I am often at times reminded of the best parts of vocalists like Michael Dafferner, Ethan McCarthy, Chris Fox or Guy Kozowyk.

The album also features some killer guest appearances, which adds some more variety to all the calamity on offer here. Each guest vocalist contributed their own lyrics for their respective track features as well. These guests include Andrew Hawkins (Baring Teeth) on track 13, Champ Morgan (BLK OPS, Derelict Satellite, Kill the Client) on track 7 and Mitchell Luna (Maruta, Noisear) on track 9.

Although the album clocks in at just under 30 minutes in length, the selection and placement of each song on 'Harm Remissions' blends into the next with a seamless fashion. This helps to create an easier and comfortable listening experience amidst all the mind battering savagery. I'm sure this will be have listeners hitting the replay button again and again, as I did after the first run through.

My choice cuts from the album are, "Odium Pitch", "Ore Lung", "Wisdom Teething" and "Threats Entrench and Renew". I feel these best illustrate the intention FAWN LIMBS set out to convey with this outing. It's an utterly hellish ride from start to finish. One can only hope to make it out in one piece.

A cassette album release is out now via Sludgelord Records. Dark Trail Records also announced a run of CDs to begin shipping towards the end of August. A 12" vinyl LP is set to be released sometime in 2020 on Roman Numeral Records for the US and Wolves And Vibrancy Records for EU based distribution.

For all the listeners who enjoy music that truly pushes the extremes, I highly urge you to check this out and pick up a psychical copy. Don't sleep on this and miss out. The beast that is FAWN LIMBS are only just getting started... I can't wait for more.



2018 - Towing Heads 7"EP (stream/donate/download here)
2018 - Languor digitalEP (stream/donate/download here)
2018 - Thrum digitalEP (stream/donate/download here)

2019 - Love Will Strangle You Forever digital single (stream/donate/download here)
2019 - Hofa Cifra cdLP discography collection (stream/donate/download here)
2019 - Harm Remissions cassette/cdLP (stream/donate/download here)


(2019) FAWN LIMBS - "Gravitated" (from 'Harm Remissions')

(2019) FAWN LIMBS - "Ore Lung" (from 'Harm Remissions')

(2019) FAWN LIMBS - "Hubris Terrain Expansion" (from 'Harm Remissions')

(2019) FAWN LIMBS - "Love Will Strangle You Forever" (from 'Love Will Strangle You Forever')

(2018) FAWN LIMBS - "Headless Bovine In The Frontier" (from 'Thrum')

(2018) FAWN LIMBS - "Languor" (from 'Languor')

(2018) FAWN LIMBS - "Mouthless" (from 'Towing Heads')


FAWN LIMBS additional links

Sunday, 15 September 2019


GenresPunk / Hardcore / Post-Hardcore / Post-Metal / Black Metal / Doom / Sludge / Ambient
Related artists?.
CountryLeipzig GERMANY
Years Active2019-present
Song: "II"
Album: "Panoptic"
Year: 2019
For fans ofIsis, Monuments Collapse, AmenRa, Love/Lust, Cult Of Luna, Rosetta, Buried Inside, Hope Drone, Titan, Noise Trail Immersion, Light Bearer and Ikaray.
Label(s): Self Released / Bharal Tapes
This post's artist is from the August+September 2019 Mix. This is track #9.
You can download: the August+September 2019 Mix#8+9 right here or get the new October 2019 Mix#10 here

On the last night of the Crowning/Swallows Nest 2019 European tour we played at AK44 Gießen with semi-local German band R. JOSEF. They kicked my fucking ass. We saw...what, maybe 35 bands on tour (minus all the CMAR fest bands) and R. JOSEF was undoubtedly in the top three along with Cassus and Niboowin. Their doomy, post-hardcore/post-metal mixed with atmospheric black metal is a wonder to behold live, and thank science the music translates wonderfully to the cassettes that I picked up. The music flows between serene moments and behemoth chugs, not unlike Isis, AmenRa and Hope Drone.

The tracks on the debut EP 'Panoptic' are simply titled "I", "II", "III" and "IV". All four are punishing save "III", which acts as a short, dreamy, guitar-driven interlude before the closer. There is a lot of chorded bass (which I'm a huge sucker for) and even some trade-off vocals between the singer and one of the guitarists. "I" builds for nearly two minutes before cursing the listener with devastatingly deep bass riffs. "II" goes supernova come seven minutes with a gargantuan riff that is so massive it nearly knocked my off my feet live. Finale "IV" is kind of short by the band's standards, but at 4:45 there are also little-to-no slowdowns or atmospheric bits, making it a dense ball of fire that gets pretty dangerous around 1:37. Oooo weee what a debut.

Jeez, whatever they put out next I'm gonna be all the fuck over. Ooooo also I spoke with the band and it sounds like there is a 12" vinyl version coming, but don't quote me.



2019 - Panoptic cassetteEP (stream/donate/download here) [buy from ZBR distro U.S.A or Canada/Int'l]


(2019) R. JOSEF - "II" (from 'Panoptic')

(2019) R. JOSEF - "I" (from 'Panoptic')

(2019) R. JOSEF - "IV" live @AK44

(2019) R. JOSEF - "II" live @AK44


R. JOSEF additional links

Saturday, 14 September 2019


Genres: Mathcore / Grindcore / Hardcore / Powerviolence / Math-Grind / Tech-Grind
Related artists: Amona, Number Six, Sorespot, CSTVT, Grimsrud, Sea Of Shit, Altered Beast, Canadian Rifle, Dastard, Dagger, Vacuus, Constrictions and Carbonleak.
CountryIllinois U.S.A.
Years Active2002-2006, 2007
Song: "I Want My Fifty Dollars"
Album: "All Is Lost, All Is Lost, All Is Yet To Be Found"
Year: 2004
For fans ofPig Destroyer, Ed Gein, Owen Hart, Letters In Binary, As The Sun Sets, Discordance Axis, Agoraphobic Nosebleed, Jenny Piccolo, Charles Bronson, Gun Kata, The Great Redneck Hope, Stand Before The Firing Squad, Oktober Skyline, Pope Benedict, Fall Silent, Sawtooth Grin, Machinist, Secondgradeknifefight, Euclid C Finder and Vessels Cast From Crippled Hands.
Label(s): Self Released / Sonic Deadline / Hewhocorrupts, Inc. / Wax Vessel
This post's artist is from the June 2019 Mix. This is track #5.
You can download: the September 2019 Mix#9 right here or get the new October 2019 Mix#10 here


TOWER OF ROME was a grindcore band that hailed from South Holland, Illinois. They originally formed as a three-piece band consisting of vocalist Joshua Snader, guitarist Tony Marzilli and drummer Aaron Guitierrez. A short while later the band would round out the fold with Mike Serrano joining on bass duties.

TOWER OF ROME first came onto my radar around the height of the Myspace era and have remained a firm favourite of mine since then. Their initial rise to popularity began prior to this when the band uploaded some well received demo tracks to the music sharing website This website would also feature other related contemporaries such as The Sawtooth Grin, Thumbscrew, See You Next Tuesday and Bodies In the Gears Of The Apparatus to name a few and helped to spring board their rise to popularity as well.

The band's 2003 'Tower of Rome Demo' featured 10 blistering tracks of high energy blast driven grindcore. TOWER OF ROME also moulded this abrasive sound with a spastic chaotic twist to killer effect. Musically, the band featured a heavily distorted guitar and bass sound with some chugging metallic breakdowns thrown in for good measure. The percussion featured what would become Aaron's signature popping snare drum sound. The vocals on this release featured an obnoxious and sneering delivery akin to the likes of vocalists like Justin Pearson or Mark McCoy. Each track on the demo was given an absurdly named song title, which was an inside joke reference for the band members themselves. The band packaged all the physical copies of this demo release as CD-Rs in manilla envelopes with Xerox'd inserts in true DIY fashion and sold them at shows to further extend their fan base.

Following a meeting with Hewhocorrupts, inc label owners and fellow Chicagoans at a live show, the band would sign to the label and release their acclaimed debut full length, 'All Is Lost, All Is Lost, All Is Yet To Be Found' in November 2004. The release featured 11 crushing tracks that the band buzzed through at breakneck speeds in just under 10 minutes. The recording production saw a much crisper and polished approach. This further accentuated the bombastic direction that the band had delivered on their demo. Re-recorded versions of some of these demo songs were given even more intensity, by having the drums and vocals pushed to the forefront in max effect. Standout tracks like 'They Say She Died Because She Was Too Honest", "I Want My Fifty Dollars' and "Girls That Smoke Gross Me Out To The Max" perfectly highlight TOWER OF ROME's intention to audibly knock out the listener with unrelenting assaults. As Hewhocorrupts, inc quite aptly put it, "Pick up the disc and get dat ass kicked!!!".

In 2005 the band worked on a split release with fellow Chicago based grindcore outfit Gun Kata. The material on this release showed some further progression on their already established sound and approach to songwriting. However, the recording production on this split went into a much rawer and dirtier lo-fi approach. It gave the split a messier and visceral feel. The vocals also strayed somewhat from the sassier yells which featured on the demo and full length. Josh adapted more of a corrosive screamed delivery here. I found this really complemented the overall urgency and savagery of these songs. At a mere 24 seconds, "Rewriting the Plotline of a B-Grade Slasher Film" is an excellent example of this. The material on this split was also used as a homemade CD-R that was sold by the band during their 2005 summer US tour with Stand Before the Firing Squad. This release was titled the 'Summer Tour EP' and 200 copies were made overall.

The band's second full length 'World War 1' was released in 2006 and would showcase a slightly newer direction taken by the band. This album would feature a matured songwriting approach, with some songs veering over the one minute mark. The tracks would also incorporate a moulding of some newer genre influences, thus broadening the band's tonal palette. Concerning the artwork and production, the band would take a complete inverse approach from their debut full length. Gone was the bright colours and overall visual vibrancy from before. WW1's cover is a minimalistic and stark grey and white layout. The contrast of this imagery would help match the brutally raw and sandpapered textural sound that followed once the listener hit play. The recording also had a distinct rough and messier old school grindcore sound, but managed to attain some form of audible cohesion for the listener. WWI also saw the band dropping their sassier and noise rock influences from prior releases and adopt a more traditional blast driven and double bass heavy grindcore attack. The throat-shredding vocals also shared some similarities with the Gun Kata split and introduced some deeper mid-range moments as well. My personal standout tracks would be 'I Have To Tell You Something...I Eat Light Bulbs', 'Save Art; Kill An Art Kid' and 'Does Your Friend Have A Name Or Should I Just Call Him Lawyer?'. I feel these tracks best illustrate the intention TOWER OF ROME had set out to achieve with this album. Turn it up real loud and piss off your next door neighbours.

To help with the promotion of WWI, the band had planned to tour all over the US and head abroad to Europe. Unfortunately, the band would be put on hiatus later that same year. This was due to touring difficulties with their van and other set backs regarding their band equipment being destroyed in a flood and having to then cancel a slew of shows as a result.

In 2007, the band reunited. They wrote around 5 to 6 newer songs and played some shows before eventually bowing out completely. TOWER OF ROME has affirmed they had never officially broken up, but just quietly became more and more inactive. Members of the band would later move on to join other projects, most notably the post hardcore band CSTVT and the powerviolence band Sea Of Shit.

It should probably also be mentioned that there is a TOWER OF ROME 12" discography coming soon via Wax Vessel that includes a poster and stupidly beautiful vinyl. Big news on that soon 😏



2003 - Tower of Rome Demo cdrEP (stream/donate/download here)

2004 - All Is Lost, All Is Lost, All Is Yet To Be Found cdLP (stream/donate/download here)

2005 - Gun Kata split cd (stream/donate/download here)
2005 - Summer Tour EP cdrEP (songs on the split)

2006 - World War 1 cdLP (stream/donate/download here)


(2003) TOWER OF ROME - "I Guess Moods Go With the Season Around Here" (from 'Tower of Rome Demo')

(2003) TOWER OF ROME - "There Are No Buts About It It's Just Plain Scary" (from 'Tower of Rome Demo')

(2003) TOWER OF ROME - "This is a Film About a Ghost" (from 'Tower of Rome Demo')

(2004) TOWER OF ROME - "Girls That Smoke Gross Me Out To The Max" (from 'All Is Lost, All Is Lost, All Is Yet To Be Found')

(2004) TOWER OF ROME - "We Put the Fun in Funeral" (from 'All Is Lost, All Is Lost, All Is Yet To Be Found')

(2004) TOWER OF ROME - "I Want My Fifty Dollars" (from 'All Is Lost, All Is Lost, All Is Yet To Be Found')

(2005) TOWER OF ROME - "I Want A Phone Company That Will Murder My Boss" (from 'Gun Kata' split)

(2005) TOWER OF ROME - "Abbreviating Words Can Be Time Efficient for Example I'm Going to Die Tomorrow by "Leath Injectch"" (from 'Gun Kata' split)

(2006) TOWER OF ROME - "Oh My God! He's Got an Arm Off" (from 'World War 1')

(2006) TOWER OF ROME - "15 Year Olds Dude, 15 Year Olds" (from 'World War 1')


TOWER OF ROME additional links

Thursday, 12 September 2019

***GHOST SPIRIT exclusive song premiere***

exclusive song premiere
For fans ofLord Snow, Youth Funeral and Tower Of Silence

Another year means another GHOST SPIRIT full length, with 2019 unleashing 'Hourglass' upon the world on October 16th via Blue Swan Records and Twelve Gauge Records on clear, black and white 12"s. I've heard the entire record and it's without a doubt their best work. The sceamy songs are more chaotic and the melodic tunes are as catchy and driving as ever. Today we're premiering "Rome" aka track two (of 8) which falls in the much more chill and melody driven category. If you are somehow unaware of this California powerhouse, they have members of Nuvolascura, Curtains, Elle, Lord Snow, Fight Fair, Seeing Means More, Calculator and Letters To Catalonia so there's no way in hell this can't be amazing.

(2019) GHOST SPIRIT "Rome" (from 'Hourglass')
"Rome" falls right in between the ripping opener and stellar third track, attacking with righteous hooks and a nice balance of clean vocals and throat-shredding screams. As usual the drums are outstanding with Niko's signature guitars washing over the listener and the bass keeping it all together. You'll notice the first half is kind of poppy, then it slides into a heavier section before getting epic and journeying through the post-hardcore realm. It's a lot to take in in just 2:04 but something tells me you'll be listening to this again...and again...and again...


Wednesday, 11 September 2019

***LOWMENINYELLOWCOATS exclusive album premiere***

exclusive album premiere
For fans of: The Fall Of Troy, Eyes Of Verotika, Mustaphamond, Ten Grand and Coma Regalia

Back in late 2017, Crowning was trying to book their first real tour, and without any real contacts, I was doing embarrassing things like googling “Ohio screamo band”. Which is how I stumbled onto the LOWMENINYELLOWCOATS’ 'Summer Demo'. The Akron 3 piece was the first to admit it was recorded live on a field recorder in as few takes as possible. And while It was certainly rough, it was frantic and had riffs for days. We booked a show with them at Blank Slate, and even though they dropped I kept in touch, and now here we are in 2019 and I’m absolutely stoked to put out their debut self titled LP.

They remind me of those first few years in the early 2000s when I was getting into screamo in Massachusetts, going to local shows and finding a taste for music that didn’t follow a recognizable structure. Seeing bands play to the height of their abilities, hanging on by a thread, but still hanging on. It was as exciting then as it is now. And right out of the gate it’s apparent that LOWMENINYELLOWCOATS don’t shy away from some of the tried and true elements of screamo. The art is a hazy black and white, the song titles are references that on their own appear nonsensical, and there’s samples for days.

This thing is angry, sharp, and chock full of piss. There’s some riffs that remind me of The Fall of Troy. There are unhinged and vulnerable vocals that remind me of the late great Matt Davis and Ten Grand, the kind that sound like they hurt every single time. Some of my favorite sections are the cleaner ones, like in “i need to return some videotapes” where the vocals really bounce around the riff in a more melodic way than I’m used to hearing from current bands while the hi-hat flourishes keep the pace on a firm lock. For a new three piece, they really have a hold on the importance of momentum and not letting anything wear out its welcome.

So do us all a favor and treat yourself to an album that holds on just long enough.

Available on yellow cassette from Zegema Beach Records and Tomb Tree Tapes.

(2019) LOWMENINYELLOWCOATS 'lowmeninyellowcoats' (full LP)

***2019 OMSB mp3 Mix #10 (October)***

October 2019 mp3 MIX #10
 => ***DOWNLOAD HERE*** <=
...and updates

Nutso summer be gone. Chill fall, it is time. Expect more posts and sick shit as I'm back to having more time during the day as my son is back in school. A ton of new stuff is happening here and with Zegema Beach Records (and Tomb Tree Tapes) so oil up those eyeballs in the months to come.

ZAMPLER #13 - 'It's An Ugly Planet, A Bug Planet' cdr is now shipping with all order from both ZBR stores! Only 100 made, we have less than 10 left.

Here's the tracklisting for OMSB mix#7 that was reviewed in August:

1) JAZZBRUNCH - "Idiocracy"

2) BLAKE - "Götterdämerung"

3) SENZA - "Sentience"

4) JOLIETTE - "Vacío"

5) LUCIENTE - "Es ist ein Weinen in der Welt"

Album reviews:
ELLE - '...'

Much love,

Dave @ (((((OPENmind/SATURATEDbrain)))))


ZBR Store/Bandcamp

DREI AFFEN 'Seguimos Ciegxs' EP
BLUE YOUTH 'EP + 2 Songs' EP
JAZZBRUNCH 'Jazzbrunch' EP


***Interviews/live shows/premieres coming up this month for sure:
- GHOST SPIRIT exclusive song premiere

***Interviews/live shows/premieres posted last month:
- ELLE interview
MARÉE NOIRE song premiere
- NEW FRIENDS FEST 2 videos/review (day 1+2)
- PIET ONTHEL song premiere
- SEPTEMBER interview
- SENZA interview
- JOLIETTE interview


***The following page have changes:
- nada

As always, on or around the 1st of every month, I will be posting a ZIP file with songs for the upcoming month with ALL specifics deleted from the tags, so unless you already know the band, there is NO information regarding each track.

During the following month, I will post reviews for those bands and link the tracks to the review so you can associate the two together. This way you can listen to a new song/band and have little-to-no bias. Below, I have re-posted the July/August mp3 mix that is used for this month's reviews.

***2019 OMSB mp3 Mix #8-9 (reviewed in September)***

The new OMSB mp3 Mix #10 contains 7 jams including:
*-* an old Toronto band featuring members of Respire and Foxmoulder!
*-* an obscure myspace band that released a sick album just last year
*-* Hayworth meets Fall Of Troy? Yes fucking please.
*-* ...that sounds kinda like Machinist
*-* a 12-minute black metal tune from Philly

NEW => ***2019 OMSB mp3 Mix #10 (reviewed in October)*** <= NEW

Any bands/labels that are interested in having their stuff reviewed, please email with "Open Mind Saturated Brain" as the subject. Please keep in mind that I don't review everything, just what jives with the blog. I will, however, listen to everything you send me. I would recommend emailing with an idea for a song/album premiere 2 months prior to that song/album release date for a much stronger chance at being reviewed on this blog. Bands that have already had their discography reviewed can also submit new albums for review if they include song/album premieres.

Saturday, 7 September 2019

***JOLIETTE exclusive interview + discography review***

GenresPunk / Rock / Hardcore / Post-Hardcore / Post-Metal / Screamo Prog
Related artistsTe Lloraría Un Puto Río, Annapura, Aves, Kill Anniston, Organna, Hong Kong Blood Opera, Oblique Quartet, Muuk, El ShirotaSatón, AuroraEpiléptica With Abraham and Amstterdam.
CountryPuebla MEXICO
Years Active2010-present
Song: "Vacío"
Album: "Luz Devora"
Year: 2019
For fans ofBeast Jesus, Vientre, Zvleta, Devil Sold His Soul, Viva Belgrado, La Parade, StandstillÀnteros, The Bled, Lyed, Converge, Limbs, Glassjaw, Deftones, Mares Of Thrace and Protest The Hero.
Label(s): Self Released / Skeletal Lightning / Moment Of Collapse Records / Zegema Beach Records / Suspended Soul Tapes & Records / Heads Up! Records / Friendly Otter Records / Fvimos Héroes / Epidemic Records / Light And Noise Records / Pobre Diablo
This post's artist is from the June 2019 Mix. This is track #4.
You can download: the June 2019 Mix#5 right here or get the new July/August 2019 Mix#6 here

I first became acquainted with JOLIETTE when I put on a show for my friends in Life In Vacuum back August 4th, 2015 in Hamilton, Ontario (show review/videos linked here). To this day JOLIETTE put on one of the most incredible performances I've ever seen, etched in detail thanks to Gaston's parading the streets of Hamilton whilst playing a wireless bass as the band continued in the venue (video of that linked here). This show was surpassed at ZBR Fest 2019 when they blew everyone's socks off and left everyone bewildered at their live show, which after this many shows is nearly legendary.

Following this discography review is an interview with vocalist/guitarist Fernando, which was conducted from July to September 2019. Fernando, Gaston, Jopo and Azael y'all are truly incredible., upon venturing back before 2014, I was surprised to find that JOLIETTE's debut EP 'Convertirse en Agua' is both heavier and poppier, depending on the section you're listening to. Opener "Solar" is a prime example, as the band switches between Atreyu-esque death-metal/screamo and Protest The Hero/scene clean singing. "¡Bravo! Imbécil" finds a better balance and reaches some nice, epic climaxes.

2013's 'Voltean/Están Felices' houses two tracks that show the evolved band sounding much more like they do now, with opener "Están Felices" showcasing some nice noodles and driving sections. "Voltean" is awesome and pummels the listener with some excellent, deep, resonating guitars and plenty of time changes.

2013 also bore witness to the band's debut full length titled 'Principia', an 11-track romp through metallic hardcore. After the short but haunting opener "Todos Temen" we are met with "Todos Odian", a perfect transitionary song from the band's previous metal leanings toward slightly more melodic post-hardcore. "Quiral" has an infectious groove as the introduction (reminding me that Viva Belgrado?) and a very intoxicating atmospheric section from mid-to-end. Album single "Martina, Merlina y Dale Con Martín" is very playful and more reminiscent of their earlier work due to the stop/start nature of the instrumentals the semi-spoken word vocals. "Say Hola!" has some serious riffs, but it's "Czirros" and those sugary sweet vocals bookended by crushing hardcore that almost take the cake on this record. Even six years after its release, "Qúmulos" is still the most progressive and experimental track that JOLIETTE has put out, and is probably most reminiscent of Glassjaw. "California Yisus" is noisy, bassy and piercing, and "Juan Matón" is fucking incredible while simultaneously being the heaviest song on the record. "Norte Y Bravo" is a straight-up banger while closer "Die Stunde Des Käses" is the longest track at 6:29 and it's also the most epic, bearing resemblance to Devil Sold His Soul more than anything else.

2014 and 2015 were the split years as they dropped three, the first with Tel Aviv, Israel's ZagaZaga, followed by two the next year with my friends Life In Vacuum and Texas metalcore/screamo band Lyed. Even after half a decade I find myself coming back to these songs more than any other release (save the new one, it seems) as the songs are fucking fantastic. Tracks like "Picsa de Cotso" and "" are short and violent, while "Il Yonzorno" and "Serenata" are both melodic and chaotic, utilizing excellent dynamics to create some seriously dancey hardcore. "El Coronel y el Cardenal" is another cool track, driven what by I would assume is Deftones and Glassjaw influence, riding vocal melodies into crushing breakdowns. My favourite has to be "No Es In A Gadda Da Vida", easily distinguishable by the chanting introduction, followed by frantic-yet-methodical metallic hardcore that leads in and out of some excellent guitar tradeoffs between Fernando and Jopo that make their first appearance around 1:17.

JOLIETTE's most aggressive and rabid output thus far is 2016's 'Atáxico' LP. It wastes no time as opener "Verdadero Por Accidente" rips through like a bullet in less than two minutes, with the following song "Tionkel" doing much of the same in 2:35. It's like The Bled blended with Converge ooooo baby. The double-time from 1:30 in "Vibraparrot" is jawdropping, while the record's sole post-hardcore tune "Las Arepas de mi Padr" is refreshing step back from all of the orchestrated mayhem. Uhhhh...unless you count closer "Código", as it's over 10 minutes in length. Okay, so...probably count it.

2018 seemed to be a prep year for the next year's LP, but the band managed to release a 'Frameworks live split' in which the bands recorded a battle set for a 7", unfortunately both songs were released on the previous full length. There was also the 'El Alphabiotista' 7" with the first recording of the title track as well as the fantastic "Dolor de Marinero en la Costa del Vesubio" that first appeared alongside "Habano Billullo Kilimanjaro" on the 'Principia mai' accompaniment cd and is a beauty to behold live. The song plays with the listener for the first 45 seconds, then dismantles them via brute force, opting to let the last two-thirds of the song sway back and forth with an exceptionally hypnotic guitar progression. Hot damn what a song.

Upon relistening to their previous LP, I am now aware how much more variety they concocted for this batch of very ambitious, epic and sprawling punk/hardcore/screamo/metal songs represented as 'Luz Devora'. I noticed from my first listen how much time and preparation went into the songs, and the direction they're veering towards is a spectacular juxtaposition of ridiculously catchy hooks and devastating metallic hardcore. "Cecapsis" opens the record in typical JOLIETTE style...aka utter annihilation, then around 50 seconds there's a mixture of nearly clean sung vocals and noodling which bleeds into a whirlwind of gorgeous post-hardcore. The entire thing lasts less than three minutes but it's like an intricately carved statue and can be listened to again and again only to find new and interesting things missed the times before. Next up is "Vacío" (for which there is a much video for embedded below) that is as mesmerizing as it is venomous. The eerie feels on this make it an exceptional piece of work, especially coupled with that supremely catchy chorus that hits first just before the one-minute mark. The band's Deftones influence shines through quite noticeably on track three's "Júpiter Jovial", while "Muletilla Japonesa (あのう)" isn't far from Converge's 'Axe to Fall' LP. "El Alphabiotista" showed up on the previous year's EP of the same name and houses a crushing riff first heard at 3:21. Both "Las Gorras Mayúsculas", "Strathos" and "Futuras Campanas" are excellent post-hardcore numbers, but it is at "Lázaro" where I go from excited to uncontrollably giddy regarding this album. The song immediately dives into mathy, dueling guitars and lightning-fast eruptions from the bass and drums, taking a break come 35 seconds only to loop back around to othe opening at 1:20. The sing-along at 1:34 is awesome, and once 2:06 hits the mathematical genius of the band is on full display with a brain-fuck of a second half that dips in and out of an impossibly timed, chuggy, prog-rock section. Immediately following is "Pudre Infante", a truly ridiculous display of drumming and technical precision, as JOLIETTE launch through the song in 2:48 and even include a sugary-sweet vocal placement around 1:24 before delving that a spaghetti western part? Whatever it is it's fucking sick. Speaking of sick, "Sr. Mora" is over 7 minutes of vomit inducing amazingness, followed by the behemoth that is the 10:46 closer "Defenestra".

That's one helluva discography thus far. The 2x12" silkscreened 'Luz Devora' was just posted via Moment Of Collapse and Skeletal Lightning so you can find those easily if interested, as they look spectacular. Alright, enough rambling, to the interview!

An Interview with:

Maybe first tell us who you are.
My name is Fernando Obregón and I play in a band called joliette.

What got you into music?
I believe I developed a strong affection towards music when I was like 9 or 10 years old. Having an older brother who learned to play piano when he was only 3 and being some kind of a prodigious musical child was probably what attracted me to music since we’ve always been very close. But I was not particularly interested in learning how to play an instrument more than I was interested in just listening to music I would like at the time (to this day, I still believe I like listening to music way more than playing it, but it’s a different feeling of course).

I began listening to boy bands and stuff like that when I was a kid but I moved on to “rock” music territory when MTV entered my life. Like many kids from my generation, I guess I was mostly attracted to bands like Blink-182, Green Day, Limp Bizkit, Metallica and many more of those.

I was 11 when my oldest brother (not a prodigious musician but a pretty damn good lawyer lol) gave me a Smashing Pumpkins Greatest Hits cd and told me “listen to this and put aside all that other crap you’ve been listening to”. To be fair, it changed my life and my whole approach at listening to music and the way I would try to analyze and appreciate it. Not that the Pumpkins were a million times better than most of the bands I listened at the time, I guess that’s subjective. But there was something about their music that just changed my whole perspective on things. And probably falling in love for the first time ever with a classmate that showed me Nine Inch Nails when I was 13 and it also rocked my world haha.

I was 12 or 13 when my brother had put his piano to rest in order to buy an acoustic guitar and then slowly become a songwriter. Having a guitar at home and being a pre-angsty teenager, I decided to grab it and started learning songs by ear. The rest is history.

What excites you about music nowadays?
What excites me about music nowadays is the diversity of stuff you can find and it’s just a click away. I am a physical media collector since always but that doesn’t mean I don’t see the benefits of the digital age. Both as a “musician” and as a music consumer, its given us many many great advantages and the possibility to reach pretty much anywhere in the world and find bands and artists from wherever in the blink of an eye it’s just mind blowing to me.

What other bands have y'all been in?
Jopo and I played in a band called Amstterdam from 2006-2009 and it was like a pre-evolved joliette pokemon. It was pretty shitty (or shittier) to say the least. Other than that I played in bands with high school friends that never recorded anything nor got anywhere haha. I have an older brother who is a songwriter and I occasionally play and record guitars for his songs and have helped him produce a couple of his albums. So, joliette has been my main focus for quite a while now.

I’m currently working on other projects but it’s too early to say what they’re about because I don’t even know if they will ever see the light of day.

Gastón currently plays bass and sings in a (very sick) screamo band called Aves. Before joliette he also played in a couple just-for-fun bands and he played in a high school band with Jopo before Amstterdam. That was like 15-16 years ago or so.

Azael currently plays drums in a band called Kill Aniston, as well as a band called Organna. As far as I know that’s what he’s up to at the moment. In the past he used to play drums for a band called Annapura (highly recommended), a band called Hong Kong Blood Opera, a band called Oblique Quartet, a band called Muuk, as well as the legendary Mexican screamo band Te Lloraría Un Puto Río. I’m probably missing a few other projects he’s been involved in.

Gabo currently plays drums in a noise rock/post hardcore band called El Shirota and he’s also got a new screamo/post hardcore band called Satón. He filled in on drums for Storm{O} on a European tour and as far as I know he’s played with a couple other bands. He also played in several bands before joliette, more than I can remember right now.

Rodrigo, our guitar player from 2012-2013 currently plays in Organna (with Azael) and before joliette we had a short lived band called Aurora but never recorded anything. He also played in a metal band called Epiléptica with Abraham, our first drummer and founding member. Rodrigo and Abraham are two of my best friends and they both remain relevant to what joliette is today.

As stated above, Abraham used to play with Rodrigo in said metal band before joliette and he also played drums in Aurora before that morphed into joliette and Rodrigo joined us later. For several years after he left joliette we’ve been getting together in a room to write songs with the intention of getting somewhere and releasing something. Clearly we haven’t had much success haha. But we’re still trying to get something going.

How was the first part of tour, before entering Canada?
The first part of our tour with joliette went amazing! We did three shows in Baja California, which is a state of Mexico that borders with the US. After these shows we crossed to the US and did a small but amazing run of dates with Nuvolascura, Senza and Elle.

Personally it’s always crazy for me to think that I’ve been able to tour with bands that I look up to and this time was no exception. I had been following Nuvolascura since they were called VRIL and I was beyond stoked to do some shows with them.

I met Mason from Senza almost three years ago when we played in Eugene, OR and before this tour they sent me Senza’s new album which completely blew me away.

Not many months ago we did a small run of dates in Mexico with Loma Prieta and I found them to be lovely people and establishing a friendship with a band you’ve been following for quite some time was a satisfying feeling of course. This being said, I knew Sean plays in Elle and I totally loved “She”, their latest album. When I learned that Trei from Beau Navire also plays in Elle I just flipped out haha. What I mean to say is how unlikely it is for me to be seeing myself in a third person perspective, being an obnoxious fan of the same bands I’m playing on a tour with.

If I asked you for your favourite band of all-time, would it be Smashing Pumpkins?
They probably are. But that doesn’t mean I’ve enjoyed anything they’ve put out after Machina haha (Oceania is dope though)

How big is your physical collection of music?
Well I believe in detachment (but I also strongly believe in having to pay my bills hehe). So, whenever my collection is growing ridiculously big I try to part with lots of what I have. Right now I have over 400 vinyl records, 200 cd’s and 150 tapes. But many years ago my cd collection would grow to more than a thousand as I was and have always been in love with the cd format, but I guess my preference for vinyl is taking over these days. It figures since I bought a pretty decent record player so I don’t have a reason not to spin them.

How were the U.S. shows?
The US shows were all amazing! Of all the times we’ve toured the US I can say this was by far the most gratifying of them all. Every show was special in its own right, and as stated before, touring with so many good bands really added to it.

Was it difficult getting into Canada?
It wasn’t difficult at all getting into Canada. It was all pretty chill. Even when we were rejected back into the US, we were permitted entry to Canada again without any issues.

How was ZBR Fest? (you don't need to sugercoat anything cuz I ran it, be honest  🙂 )
ZBR for me was amazing. It’s definitely among the most fun I’ve had at a festival. Personally I loved that it wasn’t a big scale kind of thing (but I guess it figures because screamo). So many good bands and all around a great feeling of friendship between all of us. I would’ve loved to have a better sounding venue but honestly that’s like the only downside to it.

What happened at the border? How did they treat you?
After playing ZBR fest we attempted to go back into the US with a rental car full of instruments and merch. We had not been able to find anyone who could cross back to the US with our instruments so we would not get into trouble. We took the risk of “getting caught” going into the US with tourists visas and playing shows there. It happened. We were previously warned the US/CAN border gets pretty meticulous and tough to get through and so we did get caught. In the legal frame there is no differentiation between an independent artist or a bigger, self-sustained artist and so everyone who attempts to go into the US and play needs an artist visa, which is completely out of our reach economically as we don’t earn enough money from playing to keep paying for the P2 visas year after year. Plus, when you get an artist visa you have to play a certain amount of shows minimum and certain kind of places/venues (no diy/house/youth centers) so that also puts us on a ridiculously difficult situation as an independent band. It’s like you’re being forced to pose as a band with a high revenue when in reality you can barely get by with gas money and have little to no food budget. That’s why we and 90% of the bands that go and play in the US don’t have artist visas. They all do it the same way. Whereas in other countries you don’t need that kind of permit, nor to pay a ridiculous amount of money each year just to present your music in a country which strategically makes all the sense to go to.

“Well just don’t play there,” “it’s the price you pay for doing things illegally,” “It’s not for you to call the shots when playing in another country” and many many other comments we’ve received lacking empathy. Not understanding that everyone has the right to share their art and what they love. It’s not illegal to have people praise you with fucking gas money for that. We’re not doing anything wrong. The legal frame allows many many things that are wrong but punishes many others that are not. And that’s why we have to stand against it.

I totally agree. The unrealistic expectations that come with Visa permits make them literally unattainable for diy bands. As there is no differentiation you have to either lose a ton of money or straight-up lie.

With the increased insensitivity and outright racism in the U.S. I am quite sure you were targeted as you also come from Mexico. Did it feel like that played into the ordeal?
To be completely honest with you, I don’t think that was the case this time. But that doesn’t mean we have not been treated in a “mean” way previously. I remember crossing to the US from Mexico to Texas to try and get to Florida to play The Fest in 2015 if I’m not mistaken and the border agent pretty much suggested we were introducing drug money into their country because we were most likely drug lords playing in a punk band or something haha. So we needed like seven days to go back and forth from Texas to Florida and she gave us six days instead just because she wanted to. That time we really did feel mistreated just for being Mexicans or whatever. This time around though it just felt as if we were breaking their country’s laws for playing music without the proper paperwork. And at the end of the day that’s actually what happened. There’s no way around things if you look at it that way. Not much I can complain about. Still, I refuse to believe we were doing anything wrong just by trying to get our music out there in such an important musical market as the US is in exchange of gas money and selling a couple pieces of merch. Artists bring joy and entertainment to people. It’s weird we’d have to pay copious amounts of money for that. I mean, passionate musicians always spend more than what they earn anyway. I’m just trying to say it felt a little preposterous and exaggerated, the whole thing. Didn’t go to jail, cool, great. But got targeted and labeled as criminals like we were doing somey damage or being a threat to someone or something. Did I explain myself?

Yes that is a great explanation ❤

What are your next steps in regards to the U.S.? Just wait 5 years and try again or will you try to get visas or something else?
We are still carefully looking at our options. We will probably try to return to the US before 5 years have passed. This time with the proper visas with the help of a record label (hopefully) and trying to get a “pardon” and revoke the ban. It will take us a couple years at the very least, though. Artist visa and ban revocation both cost a good deal of money so it will definitely be a very very strong investment but we cannot just simply not go there because I believe we’ve done pretty well when touring there and there are some people who actually like what we do quite a lot.

Damn right! People love what you're doing. And they showed it in Vancouver, I reckon, when you were sent back to Canada. How was the fundraiser show?
It was amazing! Honestly we couldn’t have asked for a better show to say goodbye to Canada. It was a house show and it was pretty damn packed. It was very moving to see all the support and empathy we received during that week. From the people that hosted us for almost a week (Will ❤️) to Henrietta and Miggy (and you of course) keeping up every single day with our situation and how we were feeling. It was all very heart warming. We even received messages from Mexican people living in Vancouver that went to that house show to show their support.

Tell us about Luz Devora. What inspired it? I remember you telling me that you were worried it was too long or ambitious, how do you feel about it now?
Well. 2014-2018 were pretty vertiginous years for me personally. Like many touring musicians I was struggling with depression and ever growing anxiety. Shortly after we released Principia in 2013 and we became a full time band I encountered many many problems as a consequence of that commitment. A long term relationship I had began falling out until it all ended in 2017 and it left me in bad shape. Financial and family problems didn’t help either. There was much anger inside of me and part of that anger we tried to display on Atáxico, our second album. After all these years dealing with the aforementioned plus alcohol and substance abuse, a much needed line up change in the band and a renewed sense of purpose, we finally got together towards the end of 2017 and wrote twelve songs in a two month span, ending in February 2018 and immediately entered the studio to record it all, aiming for a 2018 release.

Recording the whole thing was the easiest part to say the least. Even though I tried to be as honest as I could with the most heartfelt lyrics I’ve written, that deal with the pain of drifting apart from your loved ones, failed relationships, anxiety and a lack of happiness, I was still not in a good place both mentally and emotionally. Due to many circumstances the album took forever to be mixed and we spent more than a whole year trying to get it all done without any success, to the point that we thought we were jinxed or that there was a curse upon us or something. 2018 was the pinnacle of my depression and at a certain point I started to believe that Luz Devora was a display of all these troubled years and that it wouldn’t come out until I was reformed. Curiously, it kind of happened that way.

All these years served as inspiration to write the songs and lyrics. We tried to get the best from Principia and Atáxico and tossed it all into one bag. The result is a raw sounding, way more honest album than our previous releases. Quite long. Quite diverse. I was indeed afraid people would just “not get it” but it seems I was wrong.

Luz Devora talks all the way through about this idea of trying to reach happiness no matter what and the frustration that comes with it when constantly not succeeding. So what if it’s just an idea that all people are obsessed about? What if that turns out to be more damaging than just living and accepting life as it is? Raw and unjust.

The lyrics are not ultimately all negative as they carry a glimmer of hope even if it’s through resignation.

I am in a much better place now. I have accepted my life as it is. The people I’ve lost because of my choices and the barriers that have been built with some family members. Only after acceptance comes growth. And only after I came to terms with my whole life is when the album finally came out. A year and a half after it was recorded.

I am happy to hear you are doing better. I struggled with alcoholism for years so I have some idea of the pains of trying to help people with issues like that.
Thank you, I really appreciate you trusting me on this. It’s been tough but it does get easier every day and I’ve been exercising a lot to keep anxiety away 😍

Azael is amazing, how did that all happen?
I met Azael back in 2013. He was drumming for an amazing band called Annapura and in 2017 it was just coincidence that he quit that band and we parted ways with Gabriel, our previous drummer. I couldn’t think of anyone other than Azael to be our new drummer but I wasn’t sure he would want to join the band. To my surprise he was actually happy to have been invited to play with us and now we definitely feel more comfortable with this line up than ever before. He is a ridiculously talented musician and I’m super thankful he trusted us to take part in this.

What the hell is the timing in Lazaro? The pumping instrumental part that comes in and out...I can't figure it out lol
About Lázaro, you mean like, after the melodic singing part where comes a bridge that goes in and out until the end? That song has a lot of odd time signatures (and it’s damn fun to play live but if anyone fucks up just one time then the whole thing goes to shit haha. I guess that’s the fun part)

Is it safe to assume that you've written a bunch of new material in that time?
Yes! We already have a bunch of new songs written for many splits we’ll hopefully release next year and many more songs for future EPs or LPs. Still figuring that out. What we believe in most is whatever we leave behind when we’re gone should be all of our work, as in songs. So we’re gonna write and release as much music as we can before eventually disbanding.

Beautiful.What bands were you initially influenced by? (I'm listening to your 2011 EP now...Protest The Hero?)
Protest The Hero for sure, letlive, Underoath, Alexisonfire, Misery Signals. I still listen to many of these but our line up changes also brought major shifts in our sound and since the beginning of the band we’ve always had the idea of trying to change constantly and gradually.

What bands are you influenced by now?
Now I’d say we’re pretty influenced by bands like Deftones, Unwound, Sonic Youth, Cult Of Luna, Capsule (constantly trying to rip off Capsule haha), Daughters, Katatonia and many many more. We’ve also drawn lots of influence from pretty much all the bands we’ve had the pleasure to tour and play with (speaking about the screamo spectrum) and been trying to incorporate a bit of that into the songwriting.

Is there anything else you'd like to say?
I just would like to add that we are in our prime right now. I can’t believe we’ve been a band for eight years now and personally I feel super proud of what we have accomplished so far and I believe this is just “the beginning” of what looks in my head. The best era of joliette is to come, I think haha.

I’m at a better place than ever before, at least in the past ten years. I’m happy of who I am and I finally perceive myself in a way that satisfies me even though there’s still lots of work to do. I’m learning to live and all of which we’ve gone through as individuals and as a band is being written down on the next songs as it’s been on our previous efforts as well. We have many splits planned, a double EP-album and another full length. That’s a whole lot of songs haha and we will try to release it all before age catches up to us and we’re too old to care.

Thanks for reading and thanks David for the opportunity to have such a transparent interview.



2011 - Convertirse en Agua cdEP (stream/buy here)

2013 - Voltean/Están Felices cassetteEP (stream/buy here)

2013 - Principia cassette/cd/12"LP (stream/buy here)

2014 - ZagaZaga split cdEP (stream/buy here)

2015 - Lyed split 10"EP (stream/buy here)
2015 - Life In Vacuum split cassetteEP (stream/buy here)

2016 - Atáxico cassette/cd/10"/12"LP (stream/buy here)

2018 - Frameworks live split cassetteEP (stream/buy here)

2018 - El Alphabiotista 7"EP (stream/buy here)

2019 - Luz Devora cassette/cd/2x12"LP (stream/buy here) [buy tapes from ZBR in the U.S.A. here / Canada/Int'l here]


(2019) JOLIETTE - "Lázaro" (from 'Luz Devora')

(2019) JOLIETTE - "Vacío" (from 'Luz Devora') official music video

(2019) JOLIETTE - "Muletilla Japonesa (あのう)" (from 'Luz Devora') official music video

(2019) JOLIETTE - "Lázaro + Pudre Infante" live @ZBR Fest

(2018) JOLIETTE - "Dolor de Marinero en la Costa del Vesubio" (from 'El Alphabiotista')

(2018) JOLIETTE - "Tionkel (live)" (from 'Frameworks live split')

(2016) JOLIETTE - "Apáccico" (from 'Atáxico')

(2016) JOLIETTE - "Vibraparrot" (from 'Atáxico')

(2015) JOLIETTE - "No Es In A Gadda Da Vida" (from 'Life In Vacuum' split)

(2015) JOLIETTE - "Il Yonzorno" (from 'Lyed' split)

(2014) JOLIETTE - "Picsa de Cotso" (from 'ZagaZaga' split)
coming soon
(2013) JOLIETTE - "Juan Matón" (from 'Principia')

(2013) JOLIETTE - "Czirros" (from 'Principia')

(2013) JOLIETTE - "Están Felices" (from 'Voltean/Están Felices') official music video

(2011) JOLIETTE - "¡Bravo! Imbécil" (from 'Convertirse en Agua')


JOLIETTE additional links