Saturday 30 November 2019


GenresPunk / Post-Rock / Post-Hardcore / Post-Metal / Metal / Doom / Ambient / Experimental
Related artistsConvoj, The Vicious, Kevlar, Separation, Eclipse, Riwen, Eskju Divine, Jeudah, Pg.lost, Logh, Souls, Deportees, Plastic Pride, The Perishers and Khoma.
CountryUmeå SWEDEN
Years Active1998-present
Song: "Nightwalkers"
Album: "A Dawn to Fear"
Year: 2019
For fans ofIsis, Rosetta, Monuments Collapse, Downfall Of Gaia, Fall Of Efrafa, Light Bearer, Buried Inside, Amber, Tephra, Titan, AmenRa, Neurosis, MilanKu, Castle, Nine Eleven, Archivist, (later) Examination Of The..., Snowblood, Switchblade, Hope Drone, The Alaskan, Spires, (later) Back When, Gray Ghost, We Are Among Storms, The Ocean, LVTN and Sarin.
Label(s): a lot of labels
This post's artist is from the October 2019 Mix. This is track #7.
You can download: the November 2019 Mix#11 right here or get the new December 2019 Mix#12 here

Gargantuan. Epic. Tranquil. Behemoth. Massive. Driving. Long.

Above are the words that would have been the backbone embedded in an exhausting and overly lengthy review of CULT OF LUNA's discography spanning a massive 20 years, had I chosen to literally spend 100+ hours relistening and writing about a band that most readers here are well aware of. This year the Swedish powerhouse released 'A Dawn to Fear', their first LP since 2013's 'Vertikal', to widespread critical acclaim. So, this doesn't need to be a mirror to the band's music - I'll keep it nice and concise. (lol in retrospect)

I've been following the band since the mid-2000s when I stumbled across a plethora of bands sounding like Buried Inside, Rosetta, Examination Of The... and Spires, and instantly fell in love with their post-rock, post-hardcore and post-metal potion. CULT OF LUNA started in the Hydra Head vein but ended up doing their own thing, as is the case when a band is able to sustain itself for 20+ years. So let's take a look at said history.

In 2000 CULT OF LUNA released a 7" 'split w/Switchblade' featuring a track that ended up on the first LP, while in 2001 they released a self titled 7" 'Cult of Luna' with two exclusive tracks that are as sludgy and dark as anything they've ever done, and for me The Ocean is the first comparison that comes to mind with the early work.

Their debut full length was also released in 2001 and also titled 'Cult of Luna' (not be be confused with the 7"EP). It's a helluva feat for a first record, and it's soaked heavy in the sounds associated with Hydra Head in the early 2000s aka 5ive, Isis, Old Man Gloom, Jesuit, etc. which explains part of the band's initial appeal. I mean, c'mon, the opening riff in "The Revelation Embodied" screams Isis, and I mean that in the best possible way. I find the vocals on this record to be the weakest link, as they are hoarse without being as thick as I'm used to, and instead sound strained more than anything. There are some cool dual vocals as well as singing in "To Be Remembered", but the highlight for me is the behemoth and Light Bearer-esque "Sleep" which clocks in at a whopping 14 minutes.

CULT OF LUNA's second LP 'The Beyond' was released in a few countries in late 2002, but officially in 2003 (that means it was released in 2002 in my book). The musicianship is as spot on as the debut while the vocals are much more honed, that is to say they have more depth, power and presence. There's a lot of additional stringed instrumentation on this record, as well as a fair share of slow, brooding and sparse sections. Does that mean its slower, David? Why, yes. Yes, it does. But that doesn't make it any softer, that's for sure. You can find these moments on "Genesis" and "The Watchtower", while "Receiver" and "Leash" are decidedly faster and more chaotic. Closer "Further" is epic as fuck and more akin to Rosetta than any aforementioned band.

For their 2004 third full length 'Salvation' CULT OF LUNA really fleshed out their own sound somewhere between Isis and Tephra, and released what I consider their first really good record. The vocals here are even higher-pitched, but don't expect any shrieking, just no gutteral lows. The instrumentals vie for the smoothest and largest sound, delving full-on into textures and pretty much ditching anything fast. "Vague Illusions" is an excellent example of this, but it's on track three's "Leave Me Here" that I find myself quite smitten, as the groove right from the get-go is intoxicating, as is the layered, entrancing, atmospheric guitar.

'Somewhere Along the Highway' was the band's fourth LP, released in 2006 and the first to house over half of the tracks being 10+ minutes in length. This might be my favourite CULT OF LUNA release, as "Finland" and "Dark City, Dead Man" are certified behemoth bangers. The former takes Isis' 'Oceanic' and puts the Swedish spin on it, creating a lush but subterranean post-hardcore/post-metal masterpiece. The latter spends three-and-a-half minutes on an intro before devastating the listener with some seriously crushing metal, while the final 9 ride a cyclical wave of spacey guitars and...synths? I dunno, but I know it sounds great. The intro track "Marching to the Heartbeats" is an ambient, whispered track as is "And With Her Came the Birds" albeit with more traditional instrumentation, with both giving me hard Johnny Cash vibes. Very cool album. In 2006 the band also released the 'Bodies/Recluse' 7" with covers of Smashing Pumpkins and Unbroken which is a very good listen.

Things get pretty dang heavy on 2008's 'Eternal Kingdom' LP and this is none more obvious than the opening track "Owlwood", not to mention "Curse" and "Following Betulas", all of which could flatten a city if played loud enough. "Eternal Kingdom" lays down more swayin' grooves while "Ghost Trail" is the album's longest and darkest track, sounding as much like a nightmare lullaby as their typical crushing hardcore/metal. There seems to be a lot more experimentation on this record, which became more and more of a theme over the course of the next decade. Contender for their best album.

Taking five years off to prepare for CULT OF LUNA's 'Vertikal', featuring 9 tracks released in 2013 as the band's sixth full length album. This one is much more mechanical sounding, taking cues from both industrial/sludge imagery and music, but it without a doubt the band we all know and love. You can tell from the track times which songs are interludes and which are big 'ole bangers, with "I The Weapon" and "Mute Departure" being two of the top three. My top pick is "In Awe Of", a tranquil yet aggressive swing through 10 minutes of classic CULT OF LUNA. And how could I leave out the nearly 19-minute epic "Vicarious Redemption", as it is an EP unto itself.

Following their sixth album CULT OF LUNA receded back into writing mode for the next five years, but from 2013-2016 they managed to release a few collaborations, live albums and some instrumental records. The ones I am most interested in include three tracks of doomy, hardcore/metal with friends The Old Wind and released 'Råångest' and another five songs of crushing, beautiful, ethereal atmospheric jams with Julie Christmas on their collaboration 'Mariner' which is a stellar release.

I hadn't listened to CULT OF LUNA in more than half a decade when 'A Dawn to Fear' was released in 2019. I'd seen friends commenting online and it seemed like this was a huge success for the band, as everyone who brought it up seemed to love it. And for just reason, it's really fucking good. And so I delved back into the band and it was awesome. Opener "Silent Man" is the perfect blend between sludgy, industrial hardcore and post-metal, infusing the best vocal work to date. By the time "Lay Your Head to Rest" is a third of the way through I'm definitely making comparisons to the new AmenRa record, as the machinery/doomy aspect is on full display with this album. "We Feel the End" is the most relaxing song here, taking an ethereal route and clean vocals. Title track "A Dawn to Fear" is surprisingly short and somber (lol 9 minutes is short) although "Lights On the Hill" surpasses the 15-minute mark and has plenty of different movements, making it the longest and most diverse song on the record. "Inland Rain" is what I would consider the most direct and basic of the tracks, which also means it's typical CULT OF LUNA so it's dark, chunky, synth-heavy and entrancing. A standout is "Nightwalkers", which plays on a few synthy notes that make it a driving, writhing giant looking prey in the dead of moonlight. Closer "The Fall" is my favourite from this release, as the epic closer expertly lays down a gorgeous riff at the beginning, then crushes the listener, and finally blends the two in a masterful outro from the 10-minute mark onward.

As for the discography below...fuck no, I ain't doing all that work. Take a look at the full CULT OF LUNA discography on linked here.


(selected) DISCOGRAPHY

2000 - Switchblade split 7" (anyone have this version? please upload it)

2001 - Unfold The Inside / The Art Of Self Extermination 7" (download here)

2001 - Cult of Luna cd/2x12"LP (stream/buy here)

2002 - The Beyond cd/2x12"LP (stream/buy here)

2004 - Salvation cd/2x12"LP (stream/buy here)

2006 - Somewhere Along the Highway cd/2x12"LP (stream/buy here)
2006 - Bodies / Recluse 7" (download here)

2008 - Eternal Kingdom cd/LP/2x12"LP (stream/buy here)

2013 - Vertikal cd/2x12"LP (stream/buy here)
2013 - Vertikal II cd/12"EP (stream/buy here)

2015 - Råångest (as Cult Of Luna And The Old Wind) 12"EP (stream/buy here)

2016 - Mariner (as Cult Of Luna And Julie Christmas) cd/2x12"LP (stream/buy here)

2019 - A Dawn to Fear 2xcd/2x12"LP (stream/buy here)


(2019) CULT OF LUNA - 'A Dawn to Fear' short film

(2019) CULT OF LUNA - "The Fall" (from 'A Dawn to Fear')

(2019) CULT OF LUNA - "Nightwalkers" (from 'A Dawn to Fear')

(2016) CULT OF LUNA + Julie Christmas - "A Greater Call" (from 'Mariner')

(2013) CULT OF LUNA - "In Awe Of" (from 'Vertikal')

(2008) CULT OF LUNA - "Following Betulas" (from 'Eternal Kingdom')

(2006) CULT OF LUNA - "Dark City, Dead Man" (from 'Somewhere Along the Highway')

(2006) CULT OF LUNA - "Bodies (Smashing Pumpkins cover)" (from 'Bodies/Recluse')

(2004) CULT OF LUNA - "Leave Me Here" (from 'Salvation')

(2002) CULT OF LUNA - "Receiver" (from 'The Beyond')

(2001) CULT OF LUNA - "Sleep" (from 'Cult of Luna' LP)

(2001) CULT OF LUNA - "The Fine Art of Self-Extermination" (from 'Cult of Luna' EP)


CULT OF LUNA additional links

Wednesday 27 November 2019

***BLEAK RUGIADA album premiere***

'Bleak Rugiada'
exclusive album premiere
For fans ofCerce, Nuvolascura, Punch, Hiretsukan and Kiss 2


Need something to excite you? How's about a new band featuring members of Marée Noire and The Ultimate Screamo Band? Yeah, I thought that would do it. So, Quebec's BLEAK RUGIADA is releasing their debut four-song EP on cassette via Ontario, Canada's No Funeral Records. There's even a release show with fellow No Funeral alumni Politess next Friday December 6th, 2019, which is linked for you right here (poster below).

(2019) 1 - BLEAK RUGIADA "Knife / Blood" (from 'Bleak Rugiada')
The opener numbs the senses for the first 30 seconds before going ballistic with sassy yells and throat-wrenching screams. This straddles a fence somewhere between Melt Banana and Kiss 2 and I fucking love it.

(2019) 2 - BLEAK RUGIADA "Nothing / Everything" (from 'Bleak Rugiada')
The longest track follows and surpasses the four-minute mark, being rather obvious from the atmospheric and eerie intro that features some distant, spacey, spoken-word (or is that an audio clip?). At around two minutes the song recedes slightly before sliding into a sensational screamo jam not unlike Welcome The Plague Year or Battle Of Wolf 359, finally erupting in a flurry of drums, deep bass blasts, a vast array of time changes, venomous vocals and even a little digital manipulation. Wow what brainfuck.

(2019) 3 - BLEAK RUGIADA "Window / Broken Glass" (from 'Bleak Rugiada')
The guitars in this track nearly steal the show, but hot damn those screamy vocals are top notch and up there with Hiretsukan and Weak Wrists. That chunky breakdown and broken shrieks at the end are gonna turn some heads, holy sheeeat.

(2019) 4 - BLEAK RUGIADA "Circles" (from 'Bleak Rugiada')
The only non-"/" song, "Circles" is another brain blender that'll leave you speechless and possibly salivating with mouth agape. After a sick screamo build and some sweetly sung vocals (Poison The Well, anyone?), the closer immediately guzzles six cups of coffee and a whirlwind of righteous, technical, screamy hardcore ensues.

Sunday 24 November 2019

***PODCAST #36 w/Morgan Turnbull (Confidant, Domesticated, Capsized)***

A few weeks ago after band practice, I sat down in my van during a downpour and talked music with our drummer Morgan Turnbull. Morgan has played in a bunch of bands including: Confidant, Robertcooperphillips, Capsize, Goof, etc. The podcast is quite short at just over 30 minutes which is available to stream and/or download for free via this link.

Zegema Beach Records Fest 2019 trailer (as currently unnamed project)

STATE FAULTS - "Amalgamation" (Morgan)
A PARAMOUNT, A LOVE SUPREME - "i am young without wilderness" (Dave)

TOUCHE AMORE - "Wants/Needs" (Morgan)
FOXMOULDER - "Tempered Ill" (Dave)
BILLY BALL AND THE UPSETTERS - "Tighten Up Tighter" (Morgan)



PODCAST #36 linked here

Saturday 23 November 2019


GenresPunk / Hardcore / Post-Hardcore / Screamo / Skramz / Noise
Related artistsSnollygoster and Forgetters.
CountryWashington D.C. / New York U.S.A.
Years Active1998-2002 / 2003-2005
Song: "Song For Wilhelmina Vautrin"
Album: "End States"
Year: 2005
For fans ofCady, I Hate Sex, O'God, The White Whale, La Luna, The Short Blooming, Mahria, Coma Regalia, Battle Of Wolf 359, Amygdala and Circle Takes The Square.
Label(s): Self Released / G7 Welcoming Committee
This post's artist is from the October 2019 Mix. This is track #4.
You can download: the November 2019 Mix#11 right here or get the new December 2019 Mix#12 here

I first discovered HIRETSUKAN during a podcast with Adrian of Alder & Ash when he played me "9 Year Barrier". And I was floored. And it was released on G7 Welcoming Committee to boot? Fuuuuuck yes. It is screamo, but not traditionally so. First off, those vocals are something fierce, hitting a venomous, rabid and poignant scream that borders on a shriek. A pretty decent modern comparison (as this band existed 15-20 years ago) would be Nuvolascura and Cady. The instrumentals are an interesting mix of punk, rock and hardcore that certainly peeks into the post-hardcore realm, with Touche Amore and...y'know what? I can't think of a good instrumental comparison.

The band has a 'Brown Bag Demo' that I have yet to find or hear, and I've seen that it was released in both 1998 and who knows. In 2002 they released the still available 'Invasive//Exotic', a very short and angry seven-track EP. It opens with the 1:08 blast also known as "Lender of the Last", a whirlwind of anger and venom, especially in the vocal delivery department. "Michael Cosgrove" and "Driver" are also pretty short and clock in at around a minute-and-a-half, with the former getting pretty epic at the 35-second mark, utilizing multiple vocalists, and including what I can only describe as a jungle-drum transition. "Driver" is much heavier and chaotic with a notable Blood Brothers comparison, making this one of the strongest songs HIRETSUKAN ever concocted. Speaking of awesome songs, track three's "Barrel Roll" clocks in at as many minutes and is the complete song here. It's chock-full of ear-piercing shrieks, call-and-response vocals, and epic-punk/post-hardcore instrumentals, perhaps making it the closest thing to the sound perfected on their final LP.

Speaking of their final LP, it was recorded well after the band's 2002 tour, subsequent breakup and reformation at the behest of G7 Welcoming Committtee. So it was in 2005 that HIRETSUKAN released 'End States' to pretty widespread acclaim. Opener "Circling Boy" wastes no time in letting you know that the band hasn't taken their hand off the throttle, because it rips through in just 1:46. Then there's "Her Article", a beautifully orchestrated screamy hardcore jam with lyrics well-worth your time. My personal favourite is the pure rage behind "I cannot believe the shit that you say," on "Click and Repeat", the shortest and perhaps most anthemic track on the LP. "Wellwisher" has some mean chugs and is another prime example of the band taking their sound to the next level whilst keeping everything I loved from the first EP. The shifts and flow of "Hauling Sharp" hook me like a fish every time, as do the sweetly sung vocals in "9 Year Barrier" and the gorgeous, sweeping guitars in "Placement Services".

Overall this band did some seriously amazing work in every single department. I cannot believe I slept so long on this band. David...FOR SHAME!!! 😏


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

1998?/2000? - Brown Bag Demo cassetteEP (do you have this? please upload in the comments!)

2002 - Invasive//Exotic cdEP (download here)

2005 - End States cdLP (download here)


(2005) HIRETSUKAN - "Click and Repeat" (from 'End States')

(2005) HIRETSUKAN - "Placement Services" (from 'End States')

(2005) HIRETSUKAN - "Song For Wilhelmina Vautrin" (from 'End States')

(2002) HIRETSUKAN - "Barrel Roll" (from 'Invasive//Exotic')

(2002) HIRETSUKAN - "Driver" (from 'Invasive//Exotic')


HIRETSUKAN out of print mp3 discography download


Sunday 17 November 2019


GenresPunk / Rock / Folk / Alternative / Ambient / Shoegaze / Slowcore
Related artists?.
CountryChicago, Illinois U.S.A.
Years Active2019-present
Song: "There's No Design In This"
Album: "Demo"
Year: 2019
For fans of: Duster, Mansions, Rocky Votolato, Into It. Over It.Elvis Depressedly, Jeniferever, Low, Fences, Molly Drag, Stephen Brodsky, Said Goner, The Beatles, Wilco, Pedro The Lion and Down With The Butterfly.
Label(s): Self Released / Tomb Tree Tapes
This post's artist is from the October 2019 Mix. This is track #5.
You can download: the November 2019 Mix#11 right here or get the new December 2019 Mix#12 here

When people talk to me about music, they generally assume that I mostly listen to music with screaming. But is that accurate? Hmmm...yes. Yes, it is. But is it all I listen to? Hell no. Despite jamming primarily heavy music I do love my "other stuff", especially well constructed indie rock. I mean, damn, I'm probably jamming the grunge/indie/shoegaze band Ovlov more than anything else right now.

One of the bands I thoroughly enjoy is Mansions. Do you know Mansions? Do you like them? Do you also enjoy, oh I don't know (yes I do) Rocky Votolato? How's about a bit of The Beatles thrown in for good measure? Well hot damn, you should probably check out the solo project by name of ME, THE HIDEOUS FREAK, born of one Andy Klingensmith. Chicago slow-core/indie pop.

So as a side-note to my first paragraph, I am a really picky sonofabitch when it comes to singing, melodies and placement, which is the primary reason I don't delve more into rock music. It also makes me ecstatic when I come across something that actually reverberates with me - and when it comes from a close friend...well that just gets me all teary-eyed. Andy runs Chicago DIY space Empty Bliss with Vanessa of Crowning and was also on a podcast that I did with Vanessa in late 2018 which you can stream/download here. Andy is a straight-up sweetheart and very artistic person.

ME, THE HIDEOUS FREAK's debut 'Demo' cassette EP was released via Tomb Tree Tapes and contains five very chill, very indie, acoustic folk rock. It opens with arguably the strongest track "There's No Design In This" which brings the sweet, crooning vocals to the forefront, both isolated and layered. The choir vocals and repeating guitar transition at the one-minute mark, with some truly majestic vocals that are somehow whispered and belted out simultaneously. By 1:35 we move into Mansions territory before falling into a dreamy spiral that spits the listener out at 2:23 to a swooning death lullaby that should be featured in a movie version of Vonnegut's The Sirens Of Titan. "Towards Eternity" is next, moving into more uncomfortable, darker territory and nearly doubling in length, and it's a good track to drive home in the nighttime rain to. The slightly synth driven "B u l l s h i t" is embedded in the middle and is surprisingly upbeat-sounding considering the lyrical content. The vocal placement is excellent and I find myself singing the words to this more than any other song, and the delivery is both melancholy and powerful. Another standout is the stripped down, light and vast number titled "Like Stardust". It's a slow, dreary build that is the audio equivalent of rain pattering on the street in slow-motion, as the lyrics describe Andy being thrown from a vehicle, "and my hair would look like stardust in the sun." Frightful imagery and great execution open the song up at 2:45 and the most honest, gorgeous and mesmerizing section presents itself from here until the song's inclusion of an ambulance call (I think) that follows the guitar and drums until its 5:29 conclusion. A wonderful song, Andy. Truly. The demo's closer "Play the Victim" is the longest song at 5:48, sounding like an ethereal musical injection into the movie Vertigo, as the guitar really sounds mysterious. Mystery-core? Nah. Still, I think this is the ultimate soundtrack to a game of Clue...just put this sucker on repeat. Seriously though, it's a good closer, it's eerie, and that switchover around 3:30 is excellent.

Zegema Beach Records and Tomb Tree Tapes are releasing a solo/duo compilation cassette in early 2019 and ME, THE HIDEOUS FREAK are contributing a track, so expect a new song (at the least) very soon!



2019 - Demo casssetteEP (stream/donate/download here) [buy from Z.B.R. U.S.A. here or Internationally here]


(2019) ME, THE HIDEOUS FREAK - "There's No Design In This" (from 'Demo')

(2019) ME, THE HIDEOUS FREAK - "Like Stardust" (from 'Demo')

(2019) ME, THE HIDEOUS FREAK - "B u l l s h i t" (from 'Demo')


ME, THE HIDEOUS FREAK additional links


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. " 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.

Monday 4 November 2019

***2019 OMSB mp3 Mix #12 (December)***

December 2019 mp3 MIX #12
 => ***DOWNLOAD HERE*** <=
...and updates

Four things, my friends:

1) Yep. That's the teaser poster for ZEGEMA BEACH RECORDS Fest 2020. Please share if it excites you at all. I'm bursting over here, and the other bands I have confirmed are equally amazing. So yeah, we'll reveal everything early next year and open pre-sales which will yet again include a massive amount of free records if purchased, so don't sleep on that.

2) Next up were the ZBR Tape Box Sets #/5 with 10 test tape swirls aka alternate colors, j-cards, etc. A few are already gone and if you'd like to pick one up it'd mean a lot cuz those boxes consumed my nights.

3) I spent way too much time going through every video that I took on tour and uploaded most of them to youtube with links and a few additional words in the European tour video collection linked here. And here's that sweet documentary that Dave Cullen made about it.

4) Lastly, here is the ELLE test press winner draw video!

Here's the tracklisting for OMSB mix#10 that was reviewed in October:

1) ANTARCTICA - "Lazerz 30 Airsoft 3"

2) THE LORD'S WINNING TEAM - "Molotov Cocktease"

3) WRECK OF THE MINOTAUR - "Bull Fight Starts"

4) QUONE - "Spare Me the Pleasant Trees"

5) CELEBRATION - "If i'm dead, you guys have been dead for weeks"

6) coming soon

7) GRIP - "Conception"

FOXTAILS 'querido hija' album review

Much love,

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


ZBR Store/Bandcamp

MALEVICH 'Our Hollow' LP
.GIF FROM GOD 'approximation_of_a_human' LP
METH 'Mother of Red Light' LP
LOWMENINYELLOWCOATS 'lowmeninyellowcoats' LP


***Interviews/live shows/premieres coming up this month for sure:
- THE SAWTOOTH GRIN exclusive interview
- SNAG exclusive interview

***Interviews/live shows/premieres posted last month:
- A PARAMOUNT, A LOVE SUPREME track premiere
CROWNING / SWALLOWS NEST tour video recap (featuring videos from every band we played with on tour!)
- NEW FORMS song premiere

***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 November mp3 mix that is used for this month's reviews.

***2019 OMSB mp3 Mix #11 (reviewed in November)***

The new OMSB mp3 Mix #12 has 6 songs plus a few extra from Tarquin that are not included, such as:
*-* screamy, post-hardcore meets These Arms Are Snakes, oooooohhhhh baby
*-* a band that inspired me almost as much as they inspired Protest The Hero
*-* this band's new album is more Pelican than Pelican
*-* Fall Of Efrafa meets Trachimbrod!
*-* mid-2000s You And I worship

NEW => ***2019 OMSB mp3 Mix #12 (reviewed in December)*** <= 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.