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happymetalgirl · 3 years

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October 2020

Six Feet Under - Nightmares of the Decomposed

I wrote a full-length review of this disaster of an album earlier in the month, and yeah, wow. Between the phoned-in performances from the instrumentalists who have proven themselves far above this joke of a band and the half-assed production this would have been a pretty crappy album even without Chris Barnes’ milk-aged vocals. But he’s here, and he’s managed to actually get worse too, gasping his way through the whole album and littering it with these ludicrous “high” squeals that would make Smeagol sound like a more competent death metal vocalist. It’s the worst thing I’ve heard all year, and what’s worse, I don’t think Six Feet Under is stopping.

1/10

With that out of the way, let’s cleanse the pallet right away with some really good shit.

Greg Puciato - Child Soldier: Creator of God

Ever reliable in his artistically integrity, explosive former Dillinger Escape Plan frontman, Greg Puciato, has been pretty sonically and artistically adventurous since the honorable dissolution of the iconic mathcore outfit, his most notable music project being the ethereal, synth-heavy The Black Queen. This year, however, Puciato has gone fully solo for a full-length project, and something told me to get ready for a wild ride, and boy was I right on that hunch. Borne out of an exponentiated process of songwriting that produced songs Puciato deemed unfitting for any of his current projects, what was planned as a small release to ship these songs out of the writing room eventually spiraled into a full-blown debut solo album clocking in at over an hour. A lot of solo projects play like clearly indulgent amateur hour sessions from an artist whose ego has been boosted pretty well from significant success from their main project, leading them to overconfidently try their hand at music they have no business trying it at. And it’s often approached under the understanding that it is a victory lap, more or less, and a satisfaction of creative impulses for the sake of it. Sometimes the resultant material is clearly inspired and showcases a side of an artist that certainly deserves some spotlight. Other times it feels like being trapped in an awkward situation with an acquaintance where they just show you all their newest pedals and production software and you’re just stuck there watching them fiddle around while you nod along and offer the occasional “wow, that’s pretty crazy” every now and then while they don’t pick up on the obvious cues that you are just waiting for them to finish playing with their toys. While Puciato was open about this album being borne from the very creatively borderless mindset that so often damns solo projects, Child Soldier: Creator of God is an actual realization of the type of grand, genre-spanning album that so many solo artists envision themselves making and set out to create, and it’s hardly a whimsical, amateurish crack at the styles within either. Puciato’s foray into sludge metal, industrial rock, harsh noise, darkwave, synthwave, and shoegaze, (1) makes for a hell of a dynamic and exciting track list, and (2) shows a much deeper than average respect for and relationship with the styles being played here. This isn’t some frontman thinking his charisma can carry him through a whole rap solo album; this is a well-rounded artist (also a hell of a frontman, no denying that) giving the most comprehensive look yet into his creative mind. The album leaps around in patches of different styles, strung together mostly by ambient connective tissue of various types, all with a great attention to detail paid to both texture and progression. We get early patches of smooth ambiance, but also aggressive industrial and sludge metal, eventually moving to more soothing and meditative synthy stuff around the middle, finishing with some serene, Have a Nice Life-esque shoegaze. But really there’s no way to sum up this album stylistically without breaking down every single song on here, and that would just ruin the fun and the experience. You really just have to experience it for yourself.

9/10

DevilDriver - Dealing with Demons I

Embarking on a conceptual double-album, Dez Fafara and DevilDriver’s first installment in the pair is a scoop of the, indeed, slightly above average, but unfortunately still plain and predictable modern groove metal they always offer up. I’ll give the band credit for keeping the pace up and clearly putting substantial energy into the performances on this album, while also trying to squeeze in a few shake-ups to their sound, like the clear Gojira-inspired riffage on the opening track. The album loses steam, unfortunately, as its punches lose their impact as it goes on.

6/10

Anaal Nathrakh - Endarkenment

While certainly cultivating a unique sound, Anaal Nathrakh’s unholy fusion of nasty modern blackened grindcore with sweeter metalcore and melodic death metal elements has its mixed results. And while that might at first sound like a relatively critical assessment of the Brits’ eleventh album, I’d say that there is actually a lot to enjoy and take in for at least the interesting mix of styles, most of which are hits rather than misses as well.

7/10

Enslaved - Utgard

Having been a fan of a good amount of their recent output, especially 2015’s In Times, I came out of Utgard moderately disappointed with how infrequently Enslaved galvanized their potent brand of Viking folky, progressive black metal effectively; the few moments the band do channel their strengths cohesively and purposefully left me wanting more rather than savoring those moments.

6/10

In Cauda Venenum - G.O.H.E.

It’s hard to, and indeed seems kind of in just to, sum up a heaping prog metal serving like G.O.H.E., comprised of two 22-minute halves, in a capsule review, but that is kind of the format my current busy circumstances have forced me into. French outfit In Cauda Venenum made a self-titled debut in similar two-long-track fashion back in 2015, and the band’s gothic and somewhat theatrical brand of atmospheric post-black-metal is continued on their sophomore effort here, drawing the obvious comparisons to Opeth and Katatonia, as well as Der Weg Einer Freiheit, Numenorean, and Sólstafir, and apart from the more frequent sample usage and extra drawn-out songs, there really isn’t that much to differentiate In Cauda Venenum stylistically. The band’s second album, unfortunately, resembles so many others in the field with big aspirations and the same inadequate means of getting there.

5/10

Apparition - Granular Transformation

A much more bite-sized early two-track offering, Apparition’s debut EP offers a more promising glimpse into a heady, atmospheric, yet still visceral manipulation of modern death metal that I would be curious to hear in a more long-form format. In a genre as extreme as death metal in recent years has been, finding artists effective at working with negative space can be difficult, but the two songs on Granular Transformation showcase a formidable dexterity from Apparition that I think can take them places.

6/10

Molasses - Through the Hollow

While indeed marred by some rough performances on songs with sometimes more desert to cross than water to make it there, there’s an undeniable occult hypnotism about the Dio-era-esque doom metal hollow that Molasses ritualize their way through.

7/10

Death Angel - Under Pressure

While certainly an odd choice on the surface, Death Angel’s acoustic EP and cover of the famous Queen song actually comes out pretty alright. The acoustic version of Act III’s “A Room with a View” comes off with the energy of something like Rush whenever they went acoustic, and the original acoustic cut, “Faded Remains” isn’t too bad either. The acoustic format did not, however, mask the drabness of “Revelation Song” from last year’s overall disappointment, Humanicide.

6/10

Necrophobic - Dawn of the Damned

The Swedes’ melodic brand of blackened death metal is nothing if not thorough on the quintet’s ninth full-length, Dawn of the Damned, covering all the ground that their fans expect their style to cover and doing so with more compositional and performative stamina than their average contemporary. While the band’s broader compositional approach is akin to the beating of a dead horse, I can’t deny it produces some tasty motifs in the process.

7/10

Bloodbather - Silence

After coming onto the blossoming metallic hardcore scene in 2018 with a standard, but potent enough 14-minute EP, Pressure, Bloodbather are back with another 14 minutes of similar, yet less promising material, doing little to set themselves apart from or on the same level of the likes of Jesus Piece, Vein, Knocked Loose, or Harm’s Way.

5/10

Infera Bruo - Rites of the Nameless

The Bostonians’ fourth full-length is, at the very least, a rather well-executed forty minutes of modern black metal a la Craft or Watain, but beneath the seams the band’s progressive tendencies twist what would otherwise be a fresh, but standard, slab of black metal into a more head-turning offering of the usual shrieks and blast beats.

7/10

Touché Amoré - Lament

While somewhat shaky in their compositional exploration in their fifth LP, the firmness of their emotive post-hardcore foundation allows for Touché Amoré to build upwards relatively steadily without losing that raw vulnerability that has made them so captivating to begin with.

7/10

Gargoyl - Gargoyl

This is the self-titled debut from Bostonian four-piece Gargoyl; a novel blend of dirty nineties grunge and gothic prog metal, Gargoyl come through with one of the more impressive genre fusions of the year, meeting the lofty sufficiency for dexterity with excessive vocal harmonies in a manner so uncanny that would make habe to Layne Stayley proud. While there is the expected room for improvement on the compositional end that many debut projects come with, Gargoyl have laid the groundwork for themselves fantastically and started off on a good foot.

7/10

Crippled Black Phoenix - Ellengæst

Through creative gothic flair and full-bodied guest vocal contributions that bolster the somber atmosphere beyond the typical post-metal album, the UK band’s most recent offering of “endtime ballads”, despite its few low points that undo its otherwise immersive atmosphere, serves as one of the more engaging releases under the broader post-metal umbrella of the past year.

7/10

Wayfarer - A Romance with Violence

The Denver-based quartet follow up 2018’s strong emotive case for the potential for evoking cathartic power of the atmospheric black metal which has so saturated the American scene to the point of numbness, their Americana-tinged third LP, World’s Blood, unfortunately, with a fourth LP whose compositional homogeneity and mere few intermittent bursts of enthralling atmospheric instrumentation more represent, rather than advocate the merit of, the saturation of the American atmospheric black metal scene.

6/10

Armored Saint - Punching the Sky

Though I think the structural homogeneity and John Bush’s similarly limited vocal delivery holds it back, with crunchy bangers like “Do Wrong to None” and “My Jurisdiction” alongside more tempered tracks the clearly grunge-influenced “Lone Wolf”, Bush and company provide a relatively stylistically diverse traditional heavy metal album for an age that could use more contemporary representation of classic styles (beyond the entire stoner metal genre LARPing as Black Sabbath too).

7/10

Spirit Adrift - Enlightened in Eternity

But it's not just the old guard representing their era of classic heavy metal robustly; a year and a half after their energetically melodic third album, Divided by Darkness, which took a triumphant melodic approach to classic heavy metal and doom metal similar to that of Khemmis on their excellent third album, Spirit Adrift ease up a bit on the hyper-soulful approach to guitar melody that had led me (and others I'm sure) to draw the comparison to Khemmis, and instead dive deeper into the headspace of the genre's earliest progenitors to achieve that unabashedly glorious rallying cry that is evoked by the very front cover of Enlightened in Eternity. While I am personally pretty partial to the very vulnerable and heartfelt melodic approach that characterized Divided by Darkness, the effectiveness with which Spirit Adrift are able to wield the sometimes Maiden-esque, sometimes Testament-esque sounds of the 80’s on this album is undeniably impressive.

8/10

Fever 333 - Wrong Generation

Providing the correction to this generation’s answer to Rage Against the Machine (after Prophets of Rage’s insufficient attempted revival) Fever 333 follow up last year’s debut of heavy, fired-up and modern take on rapcore with another 14 minutes of righteous anti-racist hardcore anger that’s attuned to the issues to a level that I wish more artists would at least express in their art. While the EP is 18 minutes long, the last two songs, “The Last Time” and “Supremacy”, don’t match the sonic energy of the first six tracks. The somber piano-led snippet-length ballad, “The Last Time”, should have been the conclusion of the album, but the closing track, “Supremacy”, while as conscious as the tracks before it, is basically a late-stage formulaic Linkin Park track that flatters neither of the two bands. Despite botching the landing though, Wrong Generation is a ripping batch of songs that well represent the current unrest and provide a positive hypothetical idea of what it might be like if Rage Against the Machine were in their prime and active today.

7/10

Mörk Gryning - Hinsides Vrede

The Swedes return from their 15-year disillusioned absence from the studio with a concise and clearly renewed enthusiasm for the energetic black metal that they put forth on Hinsides Vrede. Dynamically bolstered by folk-metal compositional tendencies and more than a dash of that famed Gothenburg melodicism (I know they’re from Stockholm and in fact their melodic approach often does heaven to that of their close neighbors from Uppsala, Watain), Mörk Gryning’s seamless return to music finds them jumping into the modern black metal scene’s advanced compositional rubric with relative ease.

7/10

Zeal & Ardor - Wake of a Nation

Having covered their output since their debut and being a big fan of Manuel Gagneux’ project, it pains me to say, especially given the noble pretext and occasional momentary flashes of sobering messaging, that this six-song mini release really doesn’t capture the unique sonic pallet that has made Zeal & Ardor such an interesting act to listen to for the past few years in the most flattering light. The title track is possibly the least of the offenders here, but all the songs here function by taking a little snippet of sound that samples Zeal & Ardor’s broader stylistic range, and drawing it out across these short, but all too minimally composed tracks in such a way that they lose their momentum very quickly. Like I said, I wholeheartedly appreciate, sympathize with, and support what Manuel Gagneux is doing to lend his band’s platform to the addressing of the dire issue of today’s racism through musical means with this project, and when its social motivation is at the forefront, it’s at its most potent, but musically, unfortunately, it’s just desperately underwritten in a way that doesn’t fairly represent how accomplished Zeal & Ardor really are with their sound.

5/10

Sevendust - Blood & Stone

The flashes of crushing grooves reminiscent of their earlier work on Blood & Stone that highlight how well Sevendust can harness nu/alternative metal to execute pummeling attacks with the right crunchy guitar tone, unfortunately, don’t come frequently enough on their twelfth LP to mirage the exhaustion that has come of the band’s writing process after such frequent, unrelenting output and the all too apparent desperate need for a recalibrating, refreshing break, which they certainly deserve for their tenacity.

5/10

Undeath - Lesions of a Different Kind

In one of those cases where the ridiculously gratuitous album cover actually represents the album’s sound quite well, Rochester, New York five-piece, Undeath mince neither words nor sounds on their debut LP in their 100% upfront, no-nonsense, and wonderfully nasty delivery of death metal. Eschewing even the slightest sense of snobbery or pretense for aimless ambition, the band simply compile the genre’s tried and true elements of bellowing growls, filthy riffs, mean-ass down-tuned chugging, and blood-pumping double-bass with blast beats into an addictive slab of raw, uncured death metal that serves as a testament to the merit of not overthinking shit.

8/10

Griffon - Ὸ Θεός Ὸ Βασιλεύς

On their sophomore LP, Parisian quintet Griffon channel the world innovative ethos that has become rather prominent in their scene into a somewhat short, but definitely sweet offering of modestly ambitious black metal that captures much more effectively than most albums of similar style and lesser imagination, the divine grandeur that the genre so often tries and fails to embody.

8/10

Bring Me the Horizon - Post-Human: Survival Horror

After taking the hard left into current pop music trends very transparently on their controversial, which was at least partially intentional on their part, and ultimately really patchy, but not wholly awful, 2019 album, amo, Oli Sykes and co. walk it back substantially for this smaller release here, back to That's the Spirit, even Sempiternal, a prospect that might get a lot of the band's more long-time, metalcore-centric fans excited, but I would suggest those fans temper their expectations of Post-Human: Survival Horror. The band reunite with the anthemic metalcore/deathcore that put them on the map for a good chunk of this album, and the intro track, "Dear Diary,", might even give some false hope of the prodigal sons returning home. But songs like the cookie-cutter single, "Teardrops", provide strong evidence that, while the band have re-embraced their old aesthetic, they have not kicked the pop vocal or compositional habits. And the project really does run out of energy in its final third because of this compositional homogeneity. I do want to highlight the song, "Kingslayer", which features a very in-form Babymetal (I loved their album last year), because their fun, not-so-serious approach to the crossing of J-pop and metal music in their feature on this track among the other songs around it provides a contrast to the more formulaic, disinterested radio pop swagger that Bring Me the Horizon have been trying to jam into their sound that could perhaps inform Bring Me the Horizon's artistic approach to integrating pop music if they really are so hellbent on doing so. Ultimately though, as much as they want to move into newer territory, this trajectory-revising release shows just how much more solid Bring Me the Horizon are in their metalcore territory than they were on amo. It had its predictable hiccups, but this thing wasn't too bad.

7/10

Pallbearer - Forgotten Days

With the slow, sludgy, down-tuned riffing of the menacing opening title track and the similar chug of “Vengeance & Ruination” being the sole exceptions, the remainder of Pallbearer’s fouth full-length largely sees them operating in the same niche they have in their three previous albums. And while this could invoke accusations of playing it safe, the brimming heartfelt sorrow and resistance to succumbing to despair across Forgotten Days is enough to wave that away, as Pallbearer showcase just how emotive doom metal can be.

8/10

Bleeding Out - Lifelong Death Fantasy

The very new act and fresh Profound Lore signing, Bleeding Out, certainly display more dynamic capability than your average local grindcore scene’s biggest names here on their 18-minute debut for the label, but as of now it is still just a glimpse of potential for more effective future implementation. It’s a good start, though, and I’ll be looking forward to a more long-form project from these guys.

6/10

Evildead - United States of Anarchy

Every year we get the resurrection of some long-inactive old-school band who seem to have found that missing spark at last; we’ve seen the return of smaller bands to the studio like Angel Witch or Sorcerer and long-awaited revivals of iconic acts like Possessed. This year, Los Angeles’ Evildead has seen fit to make their commentary on the massive ongoing sociopolitical upheaval. Despite my love for the 80’s thrash scene they were born out of, the combination of the utterly lame band name, logo, and covers for either their ‘89 or ‘91 albums never really made me want to check them out, but seeing the horridly cheesy and incoherent cover of United States of Anarchy (I mean how much more on-the-nose can you get), my morbid curiosity got the best of me. Maybe I’d be wrong to have judged them by their cover, plenty of my favorite 80’s albums have particularly goofy cover art. So what do we get from Evildead in 2020 with this fucking album? Well, it’s not as poorly performed as the past few Anvil albums I’ve had to review have been, but Jesus the lyricism is similarly cheesy 5th-grade-level stuff and smacks of silly political incoherence that essentially boils down to “enlightened centrism” with mix of that good ol’ Illuminati-conspiracy-theory belief that no political thrash album is apparently complete without. I mean there’s just basic acknowledgment of the prominent problems of the day and the fact that both major political parties are bad and that corruption is rampant all throughout DC, but Evildead not only barely scratch the surface, they apply the same level cynicism to the “both sides” they criticize with no substantiation to their criticism despite that mindset being a big reason for our being where we are right now, mixed in with the occasional conspiracy-paranoia about the shadowy underworld running everything, so no real solutions or even proper addressing of these problems. Like, the same level of criticism is levied at right-wingers and communists, like communists are at all why this country has gone to shit. And the generic Anthrax/Megadeth type of thrash instrumentation, while rumbly and mixed well to highlight its bass heaviness, doesn’t exactly make it easy to get past the commentary deficiencies on here.

4/10

Emma Ruth Rundle & Thou - May Our Chambers Be Full

Rounding off their year (at least I think), with a long-teased collaboration with Emma Ruth Rundle, Thou finally present their massive sludge-doom sound in a much more flattering light than the previous cover albums this year did. Thou's original material continues to highlight just why their relatively stiff sound is much more cut out for that, original material, than for trying to bend beyond its flexibility to tribute grunge songs. And while Thou being back in their more effective department, Emma Ruth Rundle's contributions, beyond just her gorgeous and ethereally haunting vocals, to the album's atmosphere, dynamic, and structuring really take the collaboration to the next level. Not to say that Thou are completely overshadowed and relegated to the background on this record or that they don't contribute to a fair share of the legwork here; the workload is shared pretty equally, and both collaborators have their moments of prominence, but Emma Ruth Rundle's ever-present gothic/folky influence really directs the music in a way that plays to Thou's strengths in a way I'm not sure they would have been able to on their own. It's great work from both of them, and I'd be eager to hear Thou find more collaborations like this in the future that push them into doing more interesting things with their crushing doom sound, as opposed to the rather tepid collaborations with The Body.

8/10

Auðn - Vökudraumsins Fangi

Sadly, three albums in, Auðn have only barely exceeded the bare minimum for naturalistic atmospheric black metal, with no signs of significant improvement to be found. The Icelandic band earn points for their earnest delivery, but they never seem to fully make it out of the rut that the genre’s many contemporary acts have dug.

5/10

Botanist - Photosynthesis

The black metal traditionalists might have had to accept that the floodgates to bright ambience and serene shoegaze in the genre have been opened and that there's no going back now, but even as an avid Deafheaven fan, I'm sometimes momentarily surprised at just how heavenly some black metal has gotten lately, and this new album from Botanist is one of those albums. And while it sometimes slips into some of the current wave's typical ruts, the sheer blindingly illuminating aura of this album when it reaches those high points (and it does so frequently) is enough to pull it out from those gutters and high into the cosmos. Yeah, another splendid offering of nature worship from Botanist.

8/10

Mr. Bungle - The Raging Wrath of the Easter Bunny Demo

Making their return after over a decade, Mike Patton recruits both Dave Lombardo and Scott Ian for the long-awaited fourth Mr. Bungle album, which is titled in homage to the first Mr. Bungle demo which it is comprised largely of much clearer re-recordings of. Ever impressive, Mike Patton balances aggression and eccentricity like a tightrope walker on this project too, while his bandmates do the same with thrash metal’s natural adrenaline rush while pushing the genre into new compositional and stylistic territory without sacrificing that crucial whiplash. It’s a great time, and definitely one of the year’s best thrash albums.

8/10

Carcass - Despicable

While they've been much less prolific since their reboot than they were prior, Liverpool's melodic death metal pioneers simply continue to demonstrate their excellence in this seemingly effortless four-track appetizer to next year's Torn Arteries. Anyone familiar with the band's brutal form of melodic death metal will certainly be pleased with the four quite sufficiently pulverizing cuts here; those who may only be familiar with some of the band's many less muscular imitators might be surprised, and pleasantly so, with the Englanders' ability to lay on the infectious guitar melody without sacrificing an ounce of force.

8/10

#metal #heavy metal #death metal #black metal #deathcore #sludge metal #post metal #new album #album review #new music #thrash metal #blackened death metal #blackgaze #experimental metal #mathcore #doom metal #stoner metal #groove metal

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rockrevoltmagazine · 3 years

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INTERVIEW: TODD MICHAEL HALL

RockRevolt Magazine: Lets talk about your debut solo album coming out in early May, Sonic Healing. I gave it a listen and fans of classic rock should be very excited for this record. There’s no questions bands that had a major influence on you such as Boston, Rush & Foreigner influenced the direction of this album. Sonic Healing could plug right into this era. Tell us how it all came together.

TODD MICHAEL HALL: I have wanted to do an old school rock album for quite a few years now. Something I talked with Joe at Rat Pack Records about. I knew Joe because he negotiated with my band Riot and the last Riot album almost got released on Rat Pack Records. At the time Joe asked if I might want to do a solo album. He was thinking something in the metal vain, I was thinking more old school rock. It didn’t end up going anywhere at the time. Then after being on The Voice, the song “Juke Box Hero,” which I did and I consider to be in the classic rock category. I don’t consider it hair metal like Blake Shelton did. Not sure why he jumped to hair metal, apparently when people hear me they think of hair metal. Anyway it was kind of hitting, it had like a million views on YouTube. So then I call up Joe and said I’m telling you I really want to do something in the classic rock vain. I have a bunch of songs written, can you hook me up with someone that can help me transform them into hard rock. The thing is when I write as a songwriter I write by myself. I play on acoustic guitar so what tends to come out is more singer/songwriter type stuff. He said I have this guy, and it happened to be Kurdt Vanderhoof from Metal Church. He said let me see if he’s interested. He talked to him and got back to me and said Kurdt loves classic rock, it’s a big influence on him also. He wants to talk. We got on a Zoom call and talked about what each of us had in mind. I told him I was looking for that riff oriented, melodic vocal, catchy chorus kind of stuff, feel good rock. He and I joke that we are both old enough to remember the KTEL commercial about freedom rock. With the hippie looking dude who says what’s that? The other guy is like that’s freedom rock. Well turn it up. (both of us laughing as I remember the commercial as well – classic). To this day Kurdt and I will be joking, turn it up dude. Kurdt’s a great guy, we just had a lot in common. Funny thing is I loaded up like 20 of my songs and suggested we just use some or all of it. He said it was great stuff and we can come back to that but why don’t we start with me just pouring out and writing some stuff and see what happens. Which was his polite way of saying Todd we’re not going to use your crap (joking). I get where is coming from. I never really experienced this before, he had to finish up something in Seattle and he got to his place in Southern CA and he called me and said I’m going to start writing now. A few days later he sent me five songs. Then he’s just sending like a song a day. I got another one then another. Over a period of like 21 days he sent me 18 songs that happened to be during the shutdown. I put total focus on it. I would walk around, listen to the songs and they were just singing to me. It was like he and I were having a battle. I would be like I just loaded one up to Dropbox and he would be like, yeah I’m loading up one tonight. Just back and forth. Literally these songs were written over the course of four weeks, last March into April. Then we did the final recordings not long after that. The album has been in the can since June it just took a long time to get all the promo material together with all the shutdowns. We really liked what he was doing and what we came up with. We just never got around to the songs I brought to him originally. It ended up being an all Kurdt and Todd thing.

How about the other parts on the album such as bass and drums? How did you handle that?

We recorded during the shutdown. Kurdt had his own home studio and I had the same thing. Kurdt basically played the bass and the drums on this as well, it’s all us. Of course for the video we wanted to have an entire band and the videographer, Jamie Brown, is the one that found people for us. The bass player is a fella named Drew Heart, he’s actually a singer from Las Vegas. He has a few different bands that he’s in. He’s also a singer on an album with Kurdt called Vanderhoof I think from the 90’s, he had some experience with Kurdt as well coincidentally. He’s not a bass player by trade but was in the video. It turns out he’s from Michigan and we got along really well. We have a lot of the same influences. It was fun to have him around, I would love to have him in a band, he would be great backup vocals. I’m not use to having singers in the bands I’m in. The drummer in video was a guy named Abel. It’s kind of a funny story. The “Overdrive” video was the second video we filmed. Day one we filmed a video for “Let Loose Tonight” and the drummer in that video is a different guy named Dustin and he wasn’t feeling well so the night before the second video Jamie called up Abel and asked if he could show up the next day and learn the song. He did an incredible job and really helped make the video great as he put on a great show.

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Do you plan on touring behind the record?

Kurdt and I both have a lot of excitement behind the album, we both say it’s something we’d buy. We are excited to present it live but the challenge is if there is enough demand. From my time on The Voice a lot of people in my hometown would like to see that. Then maybe book some other shows locally over the course of a weekend. I know Kurdt has some people in mind to play with us if we were going to do something. But right now we are not sure we’ll have to see as things open back up.

Do you think you and Kurdt will work together again?

I would love to and I believe he feels the same way. We’ll see what happens. I remember the first album I did with Riot V, it felt magical. Then the second album we did felt more like a labor. That’s what I wonder, this first album with Kurdt was magical, so I’m curious to see how it would happen the second time around. I would say I’m definitely down for doing something again. I very much enjoy this style of music. But before then I have to record vocals for the next Riot album.

Getting into your experience on The Voice how did that come about and then of course you worked with Blake Shelton how was that?

I had seen shows like that over the years and was always somewhat interested. Then my sister got an email and said I should try out as they were having an audition in Chicago. I figured what the heck. I think there was a couple thousand people there. After I was done they said come on back tomorrow. Of course I wasn’t prepared, no change of clothes, toothbrush or anything. So I drove 5 hours back home. Then I had to prepare, I never did karaoke or have any tracks prepared so I had to get that together. So I ended up getting the “Juke Box Hero” track and Judas Priest “Another Thing Coming,” I think I did Bryan Adams “Someone Like You” and Journey “Don’t Stop Believing.” I did all but the Bryan Adams song the next day for them. It was a weird experience. Then I got a call back for a blind audition and when you are doing those you’re still in a group of 80+ people so you don’t know for sure. But I did get my shot. For me you sometimes fantasize, I wonder what could happen. But for me I didn’t think I would win or have a career in music only and not have the day job. I was going more for fun and a great experience and it was. Experiencing television and music production at that level it’s hard to describe, it’s amazing. And the people associated with the show were very friendly, nice to the musicians. Not like you are best friends, once the show is over they move on and have a new group to work with so it’s not like Blake and I are buddies. But everyone is really nice. No intent to slag the show but you don’t spend much time with your coach. Your time with the coach is on camera so there’s not a lot of interaction. Even with the song selection it’s not something you talk to them about. You’re more dealing with producers on that. Hopefully I’m not bursting anyone’s bubble on that. I would say as far as disappointments from the show, this is very minor compared to the lessons I took away. I just had this fantasy that Blake and I would sit down, have a beer together and just have a half hour to discuss influences and what we wanted to do and that wasn’t a possibility. But he’s a busy guy so I understand that.

I bet most people do have that fantasy, I’ll get on The Voice and will sit around talking music and work a plan together. But the reality is they are there for filming and drawing the audience but beyond that there’s no interaction. But it was a cool experience?

Yeah definitely. And I think if I got further that would be more the case. Before my knockout round they had to prepare me for my next song, “More Than A Feeling” by Boston if I had been back for the knockout round. If I had been back I would have been performing for Blake with the band. But we were doing it via video chat. We did chat it up a little bit. I think if you’re Todd Tillman who won for Blake’s team you probably got a little more chat time with Blake. I imagine the further you get the more personal time you get. It was a great experience. And great exposure.

Did things change for your music career or was it more of a blip and you move on?

To some extent it is kind of a blip. But you do gain followers on social media that you didn’t have before the show. That helps. I think the pop culture is a bit fickle. You see over 4 million views on my “Juke Box Hero” video and you think if I come out with a new album in a similar style I should really be able to key into this because there are so many people that liked it. Doesn’t necessarily translate that way. But I think there is so much noise and inputs and some many distractions. So I think The Voice has a certain apparatus that allows you to get a lot of attention but most of those people are more The Voice fans than your fans.

You mentioned you are working on a new album with Riot V, how’s that going?

It’s going well. I think the COVID situation had potentially two different effects on bands. One is I have all this free time for music. On the other hand it’s oh man we can’t go out and tour to support this album so why bother. And with no deadline you can kind of slack a bit and that’s kind of where the Riot album has been. We’ve had the songs written but let 2020 get away from us. We are just on hold to release the album until we can tour behind it.

Anything else going on?

I reached a point last year that my business, I run a manufacturing company for restaurant equipment so that had an impact which was stressful. Even now that orders are starting to come back it’s still tough with lack of materials so there is a ton of stress. Not a whoa is me thing, it’s just that music is a passion thing I pursue in my free time so it’s difficult to say yes at this time. It’s hard to find time for anything. At this time I don’t see me taking on any other projects. I did have the question did any famous people want to work with you because of your time on The Voice but no that really hasn’t happened.

Have you met any of your idols? If so what was that experience like?

What’s weird for me if you meet someone in like a meet n greet line I don’t consider that really a meet. I think for me getting to meet someone is to meet them as a fellow musician. That is much more along the lines of what you are asking. When I was on The Voice and I walk out and James Taylor is there, granted it was on film and we only had 10 minutes to sit and talk. To have someone like him throw a compliment your way feels pretty incredible. Also what is weird for me, for example Geoff Tate was incredibly influential to me in my younger days. There is a part of me, a little boy that still craves Geoff Tate to say hey Todd good job. I actually met him, my brother Rick had a record store and Queensryche did an in store for Operation Mindcrime. I met Geoff and I gave him a copy of my Harlot CD we produced in 1988. I told him he was a huge influence on me. Back then most independent bands like us didn’t have a CD so I figured that should impress him. Now that I’m in a band and people hand me CD’s often I get it that he was a busy guy and why does he give two shits about me. But I had this fantasy that he would listen to that and write me a note saying good job. Obviously that didn’t happen. To this day if I get approached like this, I’m not saying I’m a great person or anything like that, I’m sure I don’t get as much as Geoff Tate does but I make it a point to give it a little listen and find a way to compliment it. First of all if it’s not my taste they still went through the trouble to write and produce the song and I know how much goes into that. Getting back to it I still have this fantasy of bumping into Geoff as a fellow musician and we could talk and get to know each other. At the same time who knows maybe we have completely different views and maybe we wouldn’t get along. Sometimes you hear stories about people in general. At this point I’d say the closest I had with that was touring with Primal Fear, Ralf Scheepers is an incredible singer I had bought an album of his back in the 90’s that I really liked. It was interesting and cool to meet him. I got to know him really well and that to me is a little more along the lines of what you are talking about, a unique experience. As well as the experience with Kurdt. But in general when we are playing these festivals and Judas Priest is headlining, they have their own little dressing room and pathway. And they have people to make sure you don’t walk in there. I haven’t had much experience with the big dogs.

We all have this perception that you are all hanging out backstage but that’s obviously not that way it is.

Some of them will hang out in the normal food tent and they are around and if you are brave enough you can walk up and bug them. For me that’s not quite the same. I remember the drummer from Judas Priest was in there and our drummer is like I want to get a picture with him and he was cool but there’s a part of me that’s like you just interrupted him, you’re not really meeting them. I tend to be like I don’t want to annoy someone. Although I did with Michael Sweet and Biff Byford from Saxon and Jeff Scott Soto. So I have done that but I don’t post it to social media for me it’s more of a private thing. More of a personal memory.

Top five albums everyone should own?

Oh man that is so tough. I really loved Malice and Warrior. There was a band called The Front I really loved. But I would say if you are in the hard rock genre it would be tough not to say an Iron Maiden album like Piece of Mind, that’s a classic. Certainly in the Riot catalog you could throw Fire Down Under, not because I’m in Riot but I feel it’s a great album. I think for me it would be hard not to put Holy Diver from Dio in there. He was so incredible. I would say something by Queensryche, Operation Mindcrime.

I wish you nothing but success on the release of your first solo record. As I mentioned for a classic rock fan this is an album you should check it. Any final words?

Thanks for helping spread the word. Anyone that gives me any type of attention or shot I appreciate it. This is a passion thing and I’ve got so much joy from music over the years and just want to return the favor and bring some joy to others.

Connect with Todd Michael Hall(click icons):

INTERVIEW: TODD MICHAEL HALL was originally published on RockRevolt Mag

#Blake Shelton #Kurdt Vanderhoof #Metal Church #Riot V #Sonic Healing #The Voice #Todd Michael Hall

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softstarfire · 3 years

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Secret Apprentice: Chapter 4

The day Red S disappeared

Chapter 3 - Chapter 5 (AO3) (FF.NET)

Summary: The Teen Titan's fight Red X and Red S on the Wayne Tower in which they fought against Robin when he was Slade's Apprentice. Red X is very vocal with them, joking like every other day but he can't hide that something has changed for him. Starfire has changed too, her emotions are overwhelming her too much and the only one who can help her is the one they are fighting against. Will she lean on her team or on her new friend?

Chapter 4: The day Red S disappeared

The Titans got to the Wayne building on time. Starfire brought Robin flying through Jump City’s sky. Raven brought Cyborg and Beast Boy flew with them in the shape of an eagle. They all landed on the roof. The big sign that spelled the Wayne name stood in front of them. For a moment they silently stood there. It was the same building in which they fought against Robin when he became Slade’s apprentice. “This place gives me the creeps”, said Beast Boy, now back to his human self. “Tell me about it”, Cyborg mumbled looking at the leader. “I know”, Robin sighed. “But we are here to catch Red X. Any idea of what he’s looking for?”. A loud noise caught the Titan’s attention. “Just for fun”, a familiar voice responded. Red X sat on top of the A and beside him Red S stood firmly. “Titan’s go!”, as Robin yelled the regular call to action, Red X threw his classic gas bombs to distract them. The gas covered their sight so they couldn’t see where he went or if he even moved. When it dissipated, they saw both teens in the black uniform standing on the edge by the side of the building. The same side in which Robin and Starfire were put one against the other by Slade. “Come out and play, Titans”. Red S jumped off the building and Red X pushed the button that activated his clocking technology so he could vanish.

Beast Boy was the first one to run to the edge. He leaned forward to look for them, most importantly for Red S. “Where did she go?”, Beast Boy asked before jumping and shape shifting to a pterodactyl so he could run after her. But to his surprise, she was nowhere to be seen.

Robin jumped on one side of the big lit Y to look for Red X. He jumped letter to letter. Cyborg tried looking for him with his heat detection gadget built into his eye. Raven ran to the edge of the front of the building and still nothing. Robin got to the end of the letters and was about to fall from running and jumping too fast when he got to the E. Starfire immediately flew to his rescue but before she could touch Robin, Red X appeared in the middle of the two Titans. “What’s the matter, Robin? Brought back memories?”, Red X looked at him and he turned around to look at Starfire who was floating next to them. “Hello, cute stranger”, Red X let out a laugh and jumped off the letters. Robin jumped after him. Raven tried push Red X off, but he got to her first. He put a sticky X over her mouth and two on her hands so she couldn’t use them for her telekinetic powers. “Daddy is not coming to save you?”, the comment caught Raven by surprise, so her strength was affected. He kicked her away and when he did Cyborg blasted his Sonic Cannon, but Red X quickly used a new gadget on him. A small X that looked like a mirror and it reflected Cyborg’s attack on to himself. Robin ran to Red X and tried to push him with his BoStaff, but he ran away. X guided Robin through a door that led to the emergency stairs and he jumped to the floors beneath. Starfire flew after them confused, trembling but somehow, she was also intrigued.

Cyborg stood up and ran to Raven. He slowly removed the tape like Xs that were stuck on Raven’s pale skin. When he uncovered her mouth, she sighed. “What’s up with him?” “He’s playing with us”, Cyborg responded freeing her hands too. Then he helped her stand up. “You okay, Raven?”, he asked, and she just nodded. They ran to the door that the others went through but the lights on the roof suddenly exploded blinding them both. Overload appeared in front of them. “He’s also come out to play?”, Cyborg asked. “Lucky us”, Raven pointed out before summoning her powers to get Overload down.

Three floors beneath the rooftop Starfire flew through the offices and she couldn’t find Robin or Red X. The lights were turned off and the only illumination came from a balcony on the inside of the building that was surrounded by other smaller offices that had a front wall made of glass. When she got closer, she heard something and finally she saw Red X and Robin battling in the shadows. He kicked Robin away and turned to Starfire, who met them at the hallway next to the balcony. “Hey, cutie”, as he said that Robin punched him in the face, and he fell to the ground. “Such a-“, Starfire shoot a Starbolt at him and he avoided it. “You mind waiting for a bit?”, Red X asked before throwing one of the sticky Xs at her, pinning her to a wall. The Boy Wonder and the masked villain went back to their fist fight. They had almost the same style of fighting, Starfire noticed. Why would that be? Maybe Red X was a fan before becoming a villain. Maybe they were trained by the same team. Who trained Robin? She thought and then she lost sight of them. The two boys entered an office pushing each other. Robin used his Bo Staff to pin Red X to one of the glass walls. “What do you and Red S want?”, Robin asked. “Would it be fun if I just told you that?”, Red X pushed him away once more making him fall to the ground. “You are not fun, Robin. I don’t know what she sees in you really", Red X threw X shaped blade cutting Robin’s arm. “What do you mean?”. Robin stood up once again, covering the wound in his arm as some blood started coming out of it. “You know what I mean”, Red X walked to Robin slowly. “Is this about Starfire?”, the leader of the Titans asked. “It’s always been about her, isn’t it?”, Red X asked seriously standing in front of the Boy Wonder. “Don’t you think this is to much for-” “For her?”, Red X completed the question and the masked hero shook his head. “Look, you are no villain, X, you don’t have to do this. We can be…” “Friends? But you are not just her friend. Are you?”. Robin sighed. “Then who is Red S?”, he asked truly confused. “My friend”, Red X caught Robin in another sticky X, trapping his arms, then he pulled his utility belt off and punched him on the head to get him off his feet.

Starfire couldn’t hear what they were talking about and the silent was scaring her. She was shaking, she felt cold and she felt powerless. She tried pushing herself out of the X but she couldn’t. She tried to see where they went but she couldn’t. She tried to listen to what they were doing but she couldn’t. She couldn’t do anything, just like she couldn’t do anything for her planet now that Backfire was the new queen.

Then they appeared back on her line of sight. Red X had trapped Robin in a similar gadget to the one in which Starfire was stuck. Robin was struggling, trying to escape as Red X dragged him to an office next to where Starfire was pinned. “Robin!”, Starfire yelled his name as her eyes lit up. Red X looked at her. He pushed Robin into the empty office and closed the door, sealing it with a laser that he had in his gloves. “Now, for the cutie”, Red X walked to her as she struggled, trying to get herself out. “Don’t you dare touch her”, Robin shouted from inside the room as he tried to free himself to get to Starfire.

“What is this?”, she whispered as he got closer to her. Red X stood in front of her, his hands on his hips as he laughed at Starfire’s attempts to fight her way out of the X. “Just playing with my friends”, he replied, still just standing there in front of her. Starfire’s eyes lit up again, she felt a very strange wave of anger wash over her thoughts. She wasn’t familiar with this emotion as she hadn’t really felt this angry ever since she moved in with the Titans. Just that one time Blackfire tried to frame her for stealing.

“Besides, I figured I could help you out by bringing a hologram of Red S with me just in case there was any suspicion of your little secret”, he whispered, getting closer to her. Her eyes went back to the regular emerald color. Did he care about her? Red X put his right hand on the wall just beside her head. His left index finger lifted up her chin a little bit as he got closer to her. “We are partners after all”, he whispered. “Then let me go”, she replied. “It’s fun seeing you like this”, he let his head down for a bit as he laughed at her again. They both could hear Robin trying his best to get out of Red X’s trap. “Let me go!”, Starfire yelled. “Hey, I did something for you, give me a win”, he lifted his head back. The two teenagers argued in secretive whispers. The only light that illuminated them was the one that came from the floor above them through the balcony which was just meters away from the two. From the outside you could barely see them through the dark windows. That’s what Beast Boy thought as he flew next to that floor’s window and saw through one of them what looked like two people talking against a wall. He got closer to the glass to the window and then he saw something that didn’t make sense.

“Robin will notice”, she whispered. He nodded. He stepped back and got an X shaped blade out of his belt to cut the one that pinned Starfire to the wall. “Now, shoot me and I will just disappear, okay?”, he said as he walked back to the balcony in the middle of the hallway, his back against the metal and glass railing. She took off the rest of the sticky X. “I don’t want to hurt you”, she whispered once more. “Just do it, Star”, he opened his arms and she shot green lasers from her eyes. He immediately fell through the balcony and she ran to look for him. But he wasn’t there anymore, as he said, he vanished.

Beast Boy couldn’t believe it, he went back to the rooftop, where Cyborg and Raven had just defeated Overload. “Guys! You won’t believe what I saw. Well, what I think I saw. I was flying by the windows of the building looking for Red S and I couldn’t find her outside, so I figured she was inside. Then I started looking through the windows floor by floor and I saw something. I mean, I am not sure because it was very dark. But I think I saw Red X talking to Starfire and then he helped her out of his trap. Which I didn’t understand. Then she shot him, and he fell through the balcony. Before you say something, let me add, that I didn’t understand what had just happened. So, I went back to what I saw first and then it hit me”, Beast Boy hugged his two friends to get them closer. Cyborg tried to push his arm off his neck. “Come on, BB, you are not making any sense and it’s already been a really weird day”. Beast Boy shook his head. “Listen, listen, listen, let me talk”. Raven rolled her eyes. “I am trying to say this as kindly as I can, but you usually make no sense and I don’t think is time for one of your jokes”. Beast Boy gasped. “Raven, I am hurt but not surprised”, he spoke dramatically. “Spill it, BB!”, Cyborg punched him jokingly and Beast Boy yelled what he wanted to say. “Red X kissed Starfire!”.

He had said that at such a loud volume that Robin and Starfire could clearly hear it as they opened the door on the rooftop.

Everyone looked at the pair in silent.

“What the fuck?”, Cyborg asked laughing at Beast Boy’s claim. “Did you hit your head?”, he continued. “No, I am telling you. He kissed her. Right, Star?”, Beast Boy, looked back at her. She could unlock a new level in this game of lies that she was playing. She could play the victim and they would pity her. The would be angry at Red X and Robin would not stop until he caught the villain. But that wasn’t what she wanted. Red X was mean, sure, but he wasn’t a bad person.

“No, he didn’t do such thing. He was being mostly annoying”, she answered as the couple approached the rest of the team. “But you were talking to him”, Beast Boy pointed out.”I heard that”, Robin joined in. “What did he say to you?”, he looked at her and she imagined those blue eyes waiting for an answer. “He was being mean, he was talking about all of you-“, she got interrupted by Raven who asked her if Red X had revealed something about Red S.

“He said that... he said that he picked her because she looked like me but was disappointed when he noticed that I was not in the Tower when they got in. That’s why they came here, just so he could be mean to us and-“, Cyborg cut her this time. “I knew that. He is always trying to get Robin angry by picking on Starfire”, he pointed out. “Yes, he is”, Starfire agreed. “But that doesn’t explain why he stole the T ship. And the S. What if Slade is planning something and he sent them to steal the T ship”, Robin asked looking away from the team. “He isn’t”, Starfire responded and immediately bit her tongue. Robin turned back to look at her, “did he say that? What else did he say, Starfire?”, Robin was getting tense at the thought of the stolen T ship and the possibility that Slade was back after what he did to him. “No, I asked him and he said that he worked alone”, Starfire tried to take back what she had just said. But the whole team had too many questions. Beast Boy pointed out that he didn’t work alone know that he had Red S. Cyborg said even if he denied it, they couldn’t trust Red X. Raven mentioned that Red X had something on Robin and that Slade would be the perfect ally for him.

Starfire stood there in silence. If they went after Slade, they could find the T ship and then he would not help her to neutralize Blackfire. She had to distract them. She had to tell Slade. But he would be disappointed. What if he gave up on the plan?

There were too many thoughts in her mind. She didn’t know where to start. There was nothing she could say to Robin that would take his mind off of Slade. He would start investigating. What if he found the communicator? What if he found the uniform? What if he found out that she knew Slade’s other name?

She slowly walked away and then she flew back to the Tower.

They all turned around and saw her as she disappeared in the distance. Nobody said anything. They believed her. Everybody believed what she said. Everyone but Robin, he knew how disappointed she was when he became Red X, maybe this was what she feared. Maybe the possibility of Slade coming back worried her, and she was trying to protect them. But that wasn’t like Starfire, she wouldn’t do that. She wouldn’t lie. Would she?

Starfire got into her room and hid the backpack in her closet. She opened it to get the communicator out. She called Red X using it. He didn’t pick up immediately, but when he did she just broke down. She cried her eyes out while Red X just listened silently. Not a laugh, not a word but the silent felt comforting.

“I am sorry”, she apologized after a minute of just crying without saying a word. “What happened?”, he replied from the other side, she could hear the concern in his voice. “Beast Boy saw us talking and I did not know what to say so I invented something about Red S”, she explained, still sobbing in between her words. “And?”, Red X didn’t get what the problem was, it wasn’t like he didn’t stop to flirt with her every time he could when he fought against the Titans. “Robin didn’t believe me; they think you are working with Slade. So, I told them that you said you worked alone but it made it worse. Now everyone will go after Slade and he won’t help me safe Tamaran”, he didn’t know about Tamaran. He accepted working with Slade just to piss off Robin, he didn’t know what this mission meant for Starfire.

“He will help you; you will tell him and he will figure something out like he always does”, Red X replied. “No, he will be disappointed in me”, she sobbed again, tears filling her eyes. “Maybe, but I’ll be there. Meet me at the Lodge, he’s out now. I’ll get us in and then we’ll tell him together”, she ran the back of her hand under her nose and calmed down. Red X sounded so sure of what he just said that she believed him. “Okay, I shall see you there”, she said back to him and closed the communicator.

She ran to the backpack and put it on. Then she took a piece of paper out of her diary and she wrote a simple note. “I need some time alone. I will be back soon. Until then I do not want to put you in danger because of my feelings. Goodbye, friends”. She left the note and the Titans communicator on her bed.

There was something else that she wanted to do so badly but couldn’t. For a long time, she had been wanting to disappear and, in her backpack, there was one thing that could help her. She took Red S’s utility belt out and ripped the center off. It was the clocking device. Then she packed the rest of it back and left the room with her bag full of secrets.

She went to the rooftop. In her right hand she held the button she took from the dark suit. She stood on the edge of the roof that faced the woods. Starfire closed her eyes and thought of freedom, of the feeling of honesty and not having secrets that glued her to the darkness. She lifted herself and her feet left the ground. Still with her eyes closed she pushed the button and flew away. She opened her eyes and saw everything around her, but she didn’t see herself. As her body disappeared, her problems did too. She felt free. No one could see her ran away. So, she flew as fasts as she could to the Lodge. Her alien powers gave her super speed and she used it at its maximum.

She hummed a song in her head, a soft song she heard once on the mall. She could relate to that song too much, so she kept repeating it in her mind. She felt glued too and today she had been physically glued. She felt glued to Robin, to the team, to Earth, to Tamaran, to the memory of her family and now she felt glued to so many lies. At least one of those secrets made everything just a little bit better.

When she saw the Lodge down on the ground, she let herself go. She just fell and stopped the fall by flying slowly to the ground once she was just inches away from it.

She was on the main entrance. She hit the button in her hand again to uncover herself. This time, when she got close to the doorbell the face recognition built in opened the door for her. She entered and slowly closed the door just in case Slade had returned.

She walked around the house as quietly as she could. It was still pretty early in the morning so she could see clearly every corner of each room. There was no one in the garage, no one in the living room, no one in the kitchen or in the dining room. Her room was empty, and Slade’s door was closed as always. There was one room left, the one where Red X stayed last time. The door was almost closed, so she slowly got closer to take a peek inside and what she saw made her freeze on the spot. Red X was standing in front of the full body mirror that appeared to be the same as the one in her room. He was looking at himself and he wasn’t wearing his mask. She could see his black hair, his fair skin and his eyes. They were blue, like Robin’s. His face was beautiful but different from her best friend’s. He had darkness in his eyes that Dick didn’t have when he took his mask off. Maybe he too had that darkness when he wore the mask.

Red X, narrowed his eyes. He quickly turned around and saw the Tamaranean princess. She gasped. He did too and he covered his face with his hands. He almost jumped to the bed to grab his mask and put it on. “No, no, no! Do not put it on!”, she yelled as she entered the room and put her hands on his, trying to take the mask away. “As I said, the first time Robin asked, I wear a mask because I don’t want you to know who I am”, he explained trying to pull his hands away from the alien’s grip. “But I do not know who you are”, she replied. He stopped fighting. “You saw my face every time we fought but you only got to know me when we talked”, she explained. “So, you want me to tell you”. “No”, she let go too. “I do not want you to do nothing that you do not want to do. If you wish to share who you are with me I would be more than happy to hear it, but if you do not want to, then I shall keep what I just saw only in my memories”, he let out a chuckle. “Why are you like this with me? I mean, I am not your friend. I don’t do friends”, he sat down on the bed and she sat right next to him. “To me you are. I cherish you because without even knowing, you have been there for me through this very difficult time. Where I come from people are not nice and you were to me. So, I wish to keep you as my friend in my heart”, she shrugged her shoulders. Red X stayed silent. He would not say this out loud, but the thought of being ‘kept in Starfire’s heart’ sounded like a dream. If she knew who he really was, she would not want him near herself. Or maybe, since he was training to be better, she would.

“So, what do you think?”, Red X asked, laying back just a little bit, putting his hands on the bed for support. “I do like your face”, Starfire turned her body around to look at him. “Your eyes are most glorious, they look like the summer sky”, she clapped with her hands close to her chest. “Yours looks better. Even better when they start glowing. I can’t do that”, he mentioned. “Oh, that is part of my Tamaranean powers. I like them too. But I love human’s eyes. They look different”, she pouted, and he had to let his head down because the sight of her doing that made him feel something that he didn’t know how to cope with. “Well, you could wear contact lenses and make them look like a regular human eye”, he mentioned and as soon as he did it she lit up in excitement. “Can you do that?”, she asked, getting closer to him, her face just inches apart from his. “Yes, you can. You can change whatever you want almost instantly: your hair color, style, eyes color, even your lips color too”, he explained, and she stood up and started levitating. He had never seen someone so happy. “I wish to try those, please”, she pleaded, and he laughed. “I’ll make sure you do”, he answered. She sat back. “Could we-“, Starfire was about to speak when someone knocked at the door. Red X immediately put on his mask. Slade entered the room.

“Why are you two here?”, Slade asked. Starfire stood up. “I have to tell you something”, she spoke softly, almost as if she didn’t want him to hear her, and she didn’t. She looked over her shoulder at Red X, her eyes were starting to fill up with tears again. “I- I made a- I...”

Red X stood up too. He took a step forward and took her hand, pulling her back to stand behind him. “She is trying to cover for a fuck up I made. I tried to help Starfire distract the Titans in case they suspected her and now they think I am working with you because of a mistake I made”, he spoke clearly, no cracks in his voice, it was as if he was telling the truth. She had to learn how to do that.

“It doesn’t matter, children. I am not going to be here for much longer. I will fly to Tamaran in an hour. You two are going to help me with a simple mission for which I need you to do something that I guess two teenagers will enjoy much better than anyone else. I need you to go to the museum and find out what is their security program, cameras, who is in charge, workers, everything. Then you are going to report that to me. But I don’t want to get the Teen Titan’s attention so you will have to enter through the front door and act like a regular teenager from Jump City”, he finished his answer and went back out of the room with no more explanation.

“So, everything is okay as I told you it would be”, Red X said as he let go of Starfire’s hand and turned around to face her. “Everybody knows who I am, and you are a very known villain. That will get my friend’s attention”. Starfire looked at him with a confused face. “Well, they know Red X, but they don’t know this guy”, he took off his mask. “And maybe we can get you a secret identity, you got other name in mind?”. “My Tamaranean name is Koriand’r. Does it work?”, she asked tilting her head to the right. “Well, then miss Kory will be going to the museum with mister Jason”, he raised his eyebrows and extended his hand to her. She shook it and giggled in a way that weirdly made Jason’s heart beat faster than usual.

“But we are wearing this clothes that don’t look like a regular Jump City teen would wear”, she looked down at their uniforms. “Have you ever been to a mall?”, he asked. “Oh yes! I like going to the mall and doing the hanging out!”, she immediately jumped and clapped her hands. “Then we are going shopping”, as soon as he said that she took his hand and flew them both to the mall.

Back at the Tower, the rest of the Teen Titans came in after talking to the police about the break in.

They entered the Tower in silence. Robin went into Starfire’s room as fast as he could. “Star, I am sorry if we overwhelmed you with-“, he found himself alone in the alien’s room. He looked around, still standing on the door.

His gaze landed on the bed and once again he saw the communicator she had left behind. He sat down on the bed and took the note that laid next to her pillows. He wanted to believe her when she said she would be back soon, but he couldn’t. He was scared for her. He knew that her powers depended on her feelings and that if she was feeling this confused, it could put her in danger. Robin wasn’t the type to follow the Titans behind their backs. They were free to go out of the Tower whenever they wanted. There was no rule that said that they had to take their communicator everywhere. But somehow, he felt like there was an unofficial rule that she had violated.

He didn’t want to admit it, but he felt left out. Starfire was his best friend. The team was close, he knew them and loved them as their family, but Starfire was the girl that knew him more than anyone else. He knew her like that too. So, feeling like she was hiding those feelings from him hurt him in a way he had never experienced before.

Robin walked out of the alien’s room and into the main area of the Tower. The Titans were chatting there. As the leader entered, they stopped talking. They were thinking about her, talking about her, trying to understand what was happening to her too.

“Cyborg, I need to check the cameras”, Robin stated. “What is it? Did Red X break in again?”, Cyborg stood up from the couch immediately. “No. Starfire is gone, and I want to see where she went”, Robin replied going back to the security room through the main hallway.

Cyborg walked after him and so did Raven and Beast Boy. “Dude, I know she is acting weird but spying on her through the cameras doesn’t sound like a good idea”, Beast Boy tried to catch up to Robin. “It isn’t but it is the only way I can at least know where she went and I want to help her, so I am going after her”, he replied not even looking at the shape shifter.

“Okay, I know you care about her, but this is too much. You have to trust that she will be back in one piece. She is a strong girl”, Cyborg spoke as calmly as he could, feeling the tension rise as they all tried to convince Robin to give up his plan. “She is a teenager”, Robin replied. “So are you”, Raven quickly fought his argument with a pretty hard one. He stopped walking.

“Look, if you don’t want to help me, I will do it on my own. But stop trying to change my mind. I won’t do it. Her life could be in danger and there is no way I would let anything happen to her”, Dick sighed when he stopped talking. Clearly his emotions were fighting to get out of his chest. But he didn’t let anything out, he started walking again. “Okay, okay. Don’t get all dramatic. We will help”, Cyborg followed their masked friend.

The team got to the security room. Cyborg started looking for the footage that they wanted to see. They calculated the time she arrived at the Tower and they saw her coming in. She went into her room; they saw this from the camera on the hallway. She left just minutes after that. She flew through the emergency stairs to the top of the Tower.

Then they saw her go through the door. She stood on the edge of the rooftop. Beast Boy covered his eyes with his hands. “Man, Star can fly you know”, Cyborg pointed out.

Starfire lifted herself from the ground and then she disappeared.

“But she can’t do that”, Raven added. “The way she did it, it looked familiar”, Beast Boy joined into the discussion. “No way, I know who does the same thing”, he immediately followed up covering his eyes again. Robin let a chuckle out. “I know that trick because I created it. It belongs to Red X”.

A/N: Sooooo... Jason is Red X. Who would have thought that? lol Well, this is going to be funny. I won’t tell you any details of how he got the suit, if he’s already become Robin, etc. That will come up later in the story, I think. I like the ending too, I have so much fun when I get to write the Titans together, I try to make it as OG animated series as I can. I normally watch it while writing to get the dialogues right and stuff so I hope it works. Anywayyyys, you can already read chapter 5 on AO3 :D Please let me know what you think <3 have a nice day!

#teen titans #starfire #robin #red x #redx #raven #cyborg #beast boy #robstar #dickkory #teen titans og #teen titans 2003 #og teen titans #robstar fanfic #robstar ff #fanfiction #fanfic

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curious-minx · 3 years

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October 2010s Music Deep Dive!

A mock up poster for the only possible music festival line-up I would be willing to risk my life attending. Tony Allen’s passing has caused the entire Octoberfest to be cancelled indefinitely, but all proceeds from ticks will be given back to the community.

Hope all of you special nobodies and overblown somebodies reading this right now are having a smashing start your first o November. All last month I had taken it upon myself to listen to as many albums and fragments of albums released sometime during the month of October spanning the entire 10’s decade, 2010 through 2019. This is all probably a result of drinking too much dead water, Quarantine brain, undiagnosed Autism, magical thinking and the death of boredom. I have created a Spotify playlist sporting 25 hours and 4 minutes worth of music with an arbitrary amount of albums getting multiple songs, but largely one song/album. This project did create a sense of madness because of the volume of music that gets cranked out. How can we expect anyone to properly criticize music when it is nearly impossible to keep up with it all? I largely culled these albums from Allmusic’s Editorial Choice section, but I did have to use Rateyourmusic to fill out the hip-hop and R&B gaps. In gathering up all of this music I am attempting to see if spooky music was relegated to the October season and any other possible trends. Even though October has been laid to rest her swelling calendar breast still contains a treasure trove of music worth discussing. Grab your broom, sharpen your heels and get the cobwebs out of your ears because we’re going on a Deep Dive!

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The 2010s Old Souls and Musical Auteurs

I consider any musician or band that endures more than a decade worthy of this veteran label. Music biz lifers seem found solace in the October release schedule. A trend that has carried onto the new decade with October 2020 offering revitalized releases by Elvis Costello and Bruce Springsteen reunited with the E Street Band. All three main members of Sonic Youth, Moore, Gordon and Renaldo are still harnessing that spooky Bad Moon Rising energy and carrying it over into their solo releases.

KIM GORDON’s NO RECORD HOME

The first truly proper solo album by Kim Gordon following up her pretty good noise rock releases under the Body/Head moniker with Bill Nace. No Record Home towers over Thurston Moore and Lee Renaldo’s mostly okay solo releases because of how truly experimental and refreshingly modern sounding No Record Home is. This album sounds like it could easily have come out from a young Pacific Northwest Trip-Angle (RIP) label upstart. Instead, Gordon is defiantly aging gracefully and remains an all around important feminist voice in experimental rock music. No Record Home did not pop up on a lot of “Best of the Year” lists in 2019, nor did Gordon embark on any kind of touring for the release. I am hoping that more people will eventually discover this great album and realize that Gordon was truly the best, most truly experimental aspect of Sonic Youth. Her vocals on this album are the best she’s ever sounded because she built these songs and sounds with the intergral collaborator, producer Justin Raisen. A glimpse at Raisen’s Wikipedia page is a who’s who of great artists of the past decade: Yves Tumor, Charli XCX, and Sky Ferreira. The collaboration occurred at an AirBnB shared between Gordon and Raisen and birthed the first single of the project “Air BnB.” A song that completely sets the tone of the album and features one of those amazing music videos in the same line us Young Thug’s “Wyclef Jean. “

Björk - Biophilia

Can you name the last album the rolled out with its own app? Nine years have come and gone and I certainly can’t think of another album with such wholesome ambitions. Björk was getting passionate about ecological concerns in her native Icelandic home with Sigur Ros and using her sphere of influence to try to good. 2014 the app has found a permanent home in the MOMA, but outside of this curio status the album itself is still a worthwhile addition to the Björk canon. Biophilia finds Björk in musical scientist mode using sounds captured from a Tesla coil and making a whole musical universe onto herself. The rest of the 2010s found Björk going for bigger and more ambitious projects that continue to frustrate those who wish she would go back to her poppier roots. She remains one of those most consistent solo artists around and someone no one will be able to predict what she does next. The only thing is certain is that it will be visionary and will probably include a wildly ambitious rollout and a new piece of physical art like Biophilia’s $800 tuning forks.

NENEH CHERRY - BROKEN POLITICS

Featuring production duties for the second time from Four Tet (who also pops up in the October playlist with his 2013 album Beautiful Rewind). Broken Politics in Cherry’s words, “is about feeling broken, disappointed, and sad, but having perseverance. It’s a fight against the extinction of free thought and spirit.” The music video for single “Natural Skin Deep” was filmed in Beirut, a backdrop made even more painful given 2020’s Explosion. Cherry is an artist with deep spiritual and blood connections with artists central to jazz’s history. Broken Politics also features songs built around Ornette Coleman samples. This is all to say that Neneh Cherry is always going to be someone tapping into a creative cosmic vein that spans generations, and with that comes a hard wisdom. Two years later we’re still dealing with the same god damn guts and guns of history.

OTHER NOTABLES:

(Cat Power - The Wanderer; John Cale - Shifty Adventures in Nookie Wood; Tony Allen - Film of Life ; Neil Young & Crazy Horse - Psychedelic Pill ;Bryan Ferry - Olympia; Nick Cave & The Bad Seeds - Ghosteen ;Yoko Ono - Warzone; Vashti Bunyan - Heartleap; Elvis Costello & The Imposters - Look Now; The Chills - Silver Bullets; Weezer - Everything Will Be Alright In The End;Laurie Anderson - Heart of A Dog;Janet Jackson - Unbrekable;The Mercury Rev - Light In You; Rocketship - Thanks To You; Van Dyke Parks & Gaby Moreno - Spangled; Donald Fagen - Sunken Condos; Prefab Sprout - Crimson Red; Pere Ubu - 20 Years in a Montana Missile Silo; Negativland - True False )

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TRILOGY OF BLACKSTARS

Three last albums released by three titans of 20th century songwriting. Two of them follow the trajectory of an older artist getting rejuvenated by a younger backing band. Lulu is beyond a meme at this point and is considered one of the most confounding flops since Metallic Music. Like Metallic Music, Lulu will get a reappraisal and find its audience. Mr. Blackstar himself Bowie considered Lulu one of his favorite releases. “Junior Dad” alone makes this album a worthy addition in Lou Reed’s discography. Scott Walker invited some similarly hairy and intense younger rock studs into his private castle and pulls off a far more natural combination. Soused fits like a velvet glove on a elegant corpse hand swirling thick slabs of guitar and demonic percussion. Scott Walker effortlessly orchestrates between elegance and moribundity whereas Lulu wallows and thrashes against the ugly riffage.

No riffs or oozing wall of sound are anywhere to be found on the sparse and pointedly elegiac You Want it Darker. Leonard Cohen never went full on sleazy I’m Your Man ever again but he didn’t become adult contemporary either. You Want It Darker finds Leonard and his son Adam Cohen. When Leonard passed away he was the only one to get a full David Bowie like museum tribute, Lou Reed only got a corner of a library. Cohen is far and away the most accessible mystical Jewish Buddhist monk with a penchant for fedoras and having a masked man with a leather belt beat him in the recording booth [citation needed]. You Want It Darker is the only one of these mortality laden kiss offs to win a Grammy. I do wonder if Cohen would have ever allowed a more adventurous production to touch his staid and timeless old fashioned sound. Tom Scharpling divides Leonard Cohen into his Pre-Fedora and Post-Fedora days. If you are being literal about that demarcation that still gives you a pretty vast body of music I just want sad bloated blurry black and white Leonard Cohen with a banana or the smiling cad on Songs of Love and Hate. Even the floppy fedora era has worthwhile albums and he sounds like if Serge Gainsbourgh was a muppet Gargoyle, he’s reliable. I will always beat myself for not buying that official Leonard Cohen raincoat at the Jewish Museum Leonard Cohen exhibit, but I hope someone has and they are finding comfort with Cohen’s music. A lot of his latter day period is comforting in a sardonic sexy mind bending nursing home sort of way.

I am glad that these men were ultimately spared from having to deal with Covid times and even someone as tasteless as Brian Wilson’s Ghost can acknowledge that it’s more important than ever to keep your elderly loved ones locked away in a well ventilated pod.

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(INSERT ARTIST HERE) SEASON

For a few sticky sweet select few artists the month of October proved to be a suitable release launch pad for more than one album. The Mountain Goats and clipping. have just joined the October two-timer club this year. The reigning queen of October releases is Taylor Swift and Adrianne Lenker. In chronological order swift released Speak Now, Red and 1989 probably Swift’s biggest run in terms of critical and commercial success. None of these albums have a particularly big place in my heart, in fact speaking on behalf of Brian Wilson’s Ghost Ltd. I’m not the biggest fan of America’s Sweetheart, Sweet Tea Poet Laureate. All three of these albums all came out in the latter part of October and based on the Target brand synergy roll-out felt as inevitable as pumpkin spice. Haunted. Sad Beautiful Tragic. Out of the Woods. These are either song titles taken from these three albums are the names of the under utilized Romantic Halloween Horror Comedy genre. Lady Gaga might have been spooking it up on American Horror Story, but Swift gives a far more chilling performance in Tom Hooper’s midnight madness of Cats and I could envision Swift excelling really well as a horror film actor. Especially in a role like Scarlett Johansson’s Under the Skin.

You cannot get more polar opposite from Swift than Adrianne Lenker. Who released her first solo album abysskiss and the second Big Thief album of 2019 Two Hands. Lenker will have also gone on to make her third October release this year with her second solo album songs & instrumentals. Striking that such a ghostly autumnal band would have only released one album in October, but autumnal feeling albums are not beholden to release calendars. The song “Not” from the Big Thief album Two Hands is a watershed breakthrough moment for the band and put Lenker and her band on the map. In 2019 Big Thief became a band that could get booked onto a Goodmorning American performance slot and more or less made Big Thief one of the rare 2010s indie bands to become more or less a household name.

Other notable artists to have released more than one album on October 2010s:

Less notable artists to have multiple October releases: James Blunt Korn

Calvin Harris

Kings of Leon

Pentatonix

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FORMER HARBINGERS OF HYPE

These are October releases from artists that once felt like whenever they put out an album a wider array of outlets and publications seemed to care more and would spill more digital ink over them. The big three artists that had the biggest drop off in attention and acclaim that stick out to me the most are Titus Andronicus, Justice and Why? All three artists debuted with strong starts back in the aughts, but according to critical reception more or less crashed and burned. Titus Andronicus’ Local Business was one of the last times Titus Andronicus would get positive marks from Pitchfork. Local Business a fun and shaggy follow-up to one of the most self-serious concept albums of the 2010s.

Justice’s Audio, Video, Disco similarly is a follow up to a highly acclaimed album that set the bar high enough to doom Justice into never living up to the hype. Justice’s 2007 s/t heralded them as the next Daft Punk, but unlike those soulful and thoughtful robots Justice mainly wanted to make big ridiculous unfashionable synth prog rock. Audio, Video, Disco is simply cheesy fun and even though we live in a world better off without parties and gatherings this album helps you feel like you are in high-def IMAX monster mash on the moon.

The leaves us with Why?’s Mump’s Etc. an album that already had the job of following up an already divisive follow up record Eskimo Snow. Why’s Alopecia is a really important 2008 indie blog rap album that helped thrust the online indie blogs into the hip-hop genre hybrid experimentalism. Why? would never make another universally beloved album again and with Mump’s Etc. ended up permanently in Pitchfork’s hate pit. In the original release review the Pitchfork writer essentially deems this album an act of “career suicide.” The whole review is essentially an assignation of Why?’s figurehead Yoni Wolf and taking him to task for all of his awkward lyrical blunders and the fact he is narcissistic enough to be a musician writing about his career in a meta fashion. Yet when I listen to Mump’s Etc. I am more or less enjoying Yoni Wolf’s personality and find the whole thing to be pretty charming. A perfectly serviceable 3.5/5 release that a media outlet like Pitchfork turns into a flexing opportunity to show how that they have the power to make or break a career.

A.C. Newman, an artist who appears on this playlist with his terrific 2012 Shut Down The Streets took to Twitter to scoff at the idea that a good Pitchfork review has done anything for his career. Shut Down The Streets currently remains the last solo album Newman has released under his name choosing to focus on his main gig with the New Pornographers. The Internet based hype machine is even more ADHD addled and twitchier by the day. The joy of doing this deep dive allowed me to revisit a lot of these artists and acts that I had fallen out of touch with. I had completely forgotten about King of Convenience’s Erlend Øye who released the album Legao in 2014. I rediscovered a good deal of bands like the Editors, The Dodos, Kisses, Black Milk, Crocodiles, Empire of the Sun, Juana Molina, Jagwar Ma, Here We Go Magic, Dale Earnhardt Jr. Jr., YACHT, Peaking Lights, The Twilight Sad, Elf Power, Swet Shop Boys, Radio Dept, Allo’ Darlin, Foxes In Fiction, and HOMESHAKE are all bands not trying to change the world or challenge listeners with avant garde experimentation. Instead I feel like I maintaining relationships with old friends on the edge of obscurity.

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A HISTORY OF CHRISTMAS IN OCTOBER

A tradition stretching back as far as 2014 not October’s Idina Menzel’s Holiday Wishes, but Seth McFarland’s Holiday For Swing sweatily released on CD, digital, and vinyl on September 30, 2014. 2015 then brings us a Chris Tomlin and Ru Paul Christmas albums because every force of Neo-liberal good must be balanced with evangelical contemporary Christian music *shutters.* 2016 finds the Christmas in October era reaching a complete and utter nadir with R. Kelly’s final official LP 12 Nights of Christmas and A Pentatonix Christmas, but also buffered by Kacey Musgrave’s Christmas. 2017 only had time for Gwen Stefani’s You Make It Feel Like Christmas and no one else could evoke this feeling in October. On 2018, Michelle and Barack Obama’s combined one and only Christmas wish comes true, no not cancelling those drone strikes, but getting John Legend to join the October release jamboree; Eric Clapton claps open his guitar’s butt cheeks and hatefully squats out a half assed Xmas album defiantly opening the album with “White Christmas” [eyeroll emoji]; and finally 2018 found the Pentatonix announcing in October that Christmas Is Here. I apologize for all of that crude butt talk about the hateful racist Eric Clapton, but(t) I have festive gluteus Maximus on the mind, because in 2019 Norah Jones got her alternative country gal trio back together to remind us to shake our Christmas butts. Eat shit commercial shit, today’s Santa’s birthday! That’s the magic of the October release schedule!

The hallowed Christmas in October tradition continues on in 2020 with Dolly I-Beg-Thee-Pardon releasing A Holly Dolly Christmas right on time on October 2, 2020 (Carrie Underwood missed the memo and unwraps her unwanted My Gift in September 2020). Meghan Trainor, Goo Goo Dolls, and Tori Kelly released Christmas albums. Can you believe Seth MacFarlane comes up twice in this article, because his sleazy J. Michigan Frog croon is processed and grated like Parmesan cheese snow flakes all over a rendition of White Christmas. What a time to be alive!

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WHERE DID THEY GO?

A Brief Case For Class Actress’s Rapproacher

Among my October music travels I encountered one artist that really impressed me with her proper LP debut Rapprocher. The trio fronted by Elizabeth Vanessa Harper is essentially peddling the kind of competent moody 80’s inspired synth pop that belongs on a lost Donnie Darko sequel. Harper’s vocals are striking and expressive and they are melded with constantly propulsive bed of shiny synths and glossy barely-there gated percussion. Outside of an 2015 EP called Movies featuring exciting production contributions from Italo-disco icon Giorgio Moroder there has been nothing else from Class Actress. Highly recommend you check them out especially if you want to find the sweet spot between Chromatics and Kylie Minogue.

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THE OCTOBER 2010s MASTERPIECES

(Robyn - Honey, Big K.R.I.T. - 4eva is a Mighty Long Time ,Miguel - Kaleidoscope Dream, Crying - Beyond The Fleeting Gale , M83 Hurry Up, We’re Dreaming ,SRSQ - Unreality, Sufjan Stevens - age of adz, Joanna Newsom - divers, VV Brown Samson and Delilah, Kelela - tear me apart , Neon Indian - VEGA Intl., Fever Ray - Plunge , Antony and The Johnsons - Swanlights (goodbye album) , Caroline Polachek - Pang , Sky Ferreira - Night Time, My Time . Bat For Lashes Haunted Man, James Ferraro - Far Side Virtual , Grouper - Ruins , Kero Kero Bonito -Bonito Generation , DJ Rashad - Double Cup)

Maybe if I surround this VV Brown album with more well known artists she’ll finally get some more clicks? I should also mention that Joanna Newsom’s Divers is nowhere on my Spotify October Music playlist because Joanna Newsom thinks Spotify is bananas, and she hates bananas. I know I should also mention Kendrick Lamar’s good kid, m.A.A.d city and Tame Impala’s Lonerism. That’s the maddening thing about October music that just when you think you covered all your ground you find another hidden hump underneath the carpet. I feel remiss without mentioning striking debut and instant hidden gem Tinashe’s Aquarius, which did you know has a new album art on Spotify. Death Grip’s No Love Deep Web. T_T I didn’t even get around to making a big verbal mosaic to Thom Yorke’s witchy Suspiria soundtrack.Corpus Christi! I forgot to highlight The Orb album in the collage with my other veteran artists! As you can see this project nearly ruined me. I did not necessarily listen to all of these albums from front to back, but I did listen all of the songs on the playlist and chose them from the immense collection of October releases. I am pretty sure this is the kind of content for no one in particular but I really needed to get it out of my system. Let’s meet back up October 2030!!!!!

(Thank you to my beloved partner, best friend and Spotify provider Maddie Johnson XD)

https://open.spotify.com/playlist/7sdLaNNaqWpKEKXRZ3jNqY?si=SLZxUwLMQYOQ5wA1xuZc7w

#spooky #spooktember #spooktober #spooktacular #octoberfest #autism #best of #music festival #Joanna newsom #sufjan stevens #kendrick lamar #tame impala #Taylor swift #big thief #Adrianne lenker #ru paul #kelly klarkson

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hermitologist · 4 years

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My 20 Favorite Records of 2019

Lists! Everyone loves them. Here’s another one.

These are the records I liked the most this year. That doesn’t mean they’re the *best*, that means I liked them. You might not. That’s fine! You might be livid that Porpoise Corpse’s neo-classical folk prog double LP isn’t on my list because it’s an easy top 5 record for you, but maybe electric mandolin solos, blast beats, and harpsichord runs aren’t my thing. That’s fine too! It’s infinitely cooler and far more productive to let people enjoy the art they enjoy rather than wasting precious minutes of your life trying to convince the entire internet to have the exact same taste in music.

That said ...

This years list is chock full of the usual, if you’re familiar with my taste at all -- tons of super heavy bummer jams, a handful of Radiohead-adjacent mid-tempo rock of the indie or emo variety, some hearty post-rock, some tried-and-true vets doing the thing they do very well ... again, and a few outliers. The honorable mentions list gets considerably more eclectic if you’re looking for stuff that sounds less like a soundtrack to various stages of the apocalypse.

As always, I welcome your suggestions for records and podcasts I might’ve missed the boat on. There’s way too much good stuff out there to keep up with, so PLEASE help me out.

Also: When I am not being a lazy pile of crap, I try to haul my dadbod around town for a run a few days a week and will listen to/briefly review a record in the process. Almost every record on this list has been a part of one of those posts, so if you’re interested in such a thing, please check out my Instagram.

BONUS: I put together a playlist on Spotify of my favorite song from each of my top 20 records, and a separate one for the 51 other records I liked this year, so if you’re overwhelmed and don’t know where to start, just needle drop a little and see if anything grabs you. And if anyone’s feeling productive and has time to do an Apple Music playlist, I’ll link and credit you.

Top 20 Spotify Playlist

Top 20 Apple Music Playlist -- Thanks, Austin!

Other Faves Spotify Playlist

But before we get to the Top 20, a couple of records that deserve a nod ...

Record I Listened To The Most In 2019 Whether I Wanted To Or Not

Angel Du$t - Pretty Buff

This is my four-year-old son’s favorite record, and while I’m trying to round out his musical palate by throwing on all sorts of different bands while we’re hanging out, he insists on either “no music” or “The Basketball Song” (which is “Big Ass Love”). I have no idea how or why his little amazingly weird brain equates the song with basketball (a sport he doesn’t really play or watch or think about ever, to my knowledge), but it does. He LOVES IT. I’ve got to admit, I didn't care for the song all that much when I first heard it, but it’s an earworm, and some 3000 plays later, I love it, and I love the record. Funny how that works out.

Record That Came out in 2009, But I Didn’t Discover Until 2019

Self-Evident - Endings

Endings was neck-and-neck with my favorite record of 2019 for spins this year. Coincidentally, the it was recommended by someone from the band who made my #1 record, and it has moments where it sounds a whole hell of a lot like my #1 record. Blows my mind that a band that was/is so incredibly in my wheelhouse sonically, that has released nine LPs over an 18 year career, and operates in circles incredibly close to a ton of bands I love and respect and nerd out about music with somehow managed to elude me for the better part of two decades. At any rate I’m incredibly stoked to have finally found them, absolutely love them, and honestly might’ve listened to this LP 20 times in a matter of a few days when I got my first taste. It’s that good.

And now for the list ...

20) Remote Viewing - It’s Better This Way

Super nasty, dark, sludgy, well-crafted noise rock out of London that fits somewhere in between KEN Mode and early-Kowloon Walled City sonically. You’d think it was pretty crazy to have a band be so locked in and fully formed as early as LP2, but then you find out they’re ex-members of Palehorse, Million Dead, and I Want You Dead and it all kinda makes sense. Unfortunately, the song on the playlist is from a previous LP (because the new one is inexplicably not on Spotify), but you can and should get the new record on Bandcamp.

19) From Indian Lakes - Dimly Lit

I’ve been a big fan of FIL for years, but have always been at a bit of a loss when it comes time to describe them. It’s hazy and dreamy, but not quite shoegazey ... it’s insanely infectious and pleasing to the ear, but not really poppy ... it’s forward-thinking and experimental, but not quite art-rock or groggy at all. It’s just excellent. Full stop. If you dig anything from Tycho, to Radiohead, to The Cure, to Slowdive you’ll enjoy this.

18) Stray From The Path - Internal Atomics

Furious, mathy, riff-heavy hardcore from Long Island that sounds like a reformed Rage Against The Machine had spent the past two decades doing steroids, mainlining Red Bull, and studying the finer points of Moshology. The breakdowns are massive, the drumming absolutely mental, and the vocals pissed as hell. At my advanced age, it’s rare that a record makes me want to pit and/or try to deadlift cars, but this one’s got that magic.

17) Glassing - Spotted Horse

Mostly spazzy, occasionally dreamy, black-metal sprinkled post-hardcore that fits in very well with bands like Portrayal Of Guilt and Respire in the rebirth of traditional screamo. It’s fits and starts of chaos and beauty, and it all sounds and feels like it could completely go off the rails at any time which is what made bands like Orchid and Majority Rule and Saetia so great back in the day.

16) La Dispute - Panorama

It’s no secret that I’m a big La Dispute fan (Thrice has toured the US with them twice in the past decade), and I love all of their records, but I’m pretty sure I can say with full confidence that this is the best record they’ve ever made. Everything is firing at peak performance, and the way the record is arranged and sequenced makes it feel more like a film score than a collection of songs. It’s a complete work -- meant to be listened to as such, which is a daunting artistic task, but they pulled it off in grand fashion.

15) Russian Circles - Blood Year

This band has been in the upper echelon of post-rock bands for as long as I can remember, and Blood Year is another incredible addition to their already stellar discography. These guys are all absolute monsters at their given instruments, and one of the best live rock bands on the planet, so getting to hear them do their thing on a record that manages to actually capture that live energy and ambience really does the trick for me.

14) Greet Death - New Hell

This one kinda came outta nowhere for me, as I (ashamedly) was not familiar with them prior to giving New Hell a spin. It blew me away. I’m a total sucker for bummer jams, and this record is full of top-quality sludgy, sad, shoegazey goodness. If you dig Cloakroom, O’ Brother, or Pianos Become The Teeth this is gonna be right up your alley.

13) Sleep Token - Sundowning

Another record that came out of nowhere to knock me on my ass. I downloaded it before a transatlantic flight on a whim (after hearing about 30 seconds of the opening track), hoping that it would be a nice, mellow companion to ease my in-flight anxiety. And it was, but whoa was it so much more than that. It kinda sounds like a collab between Active Child and Deftones -- poppy, melancholic piano ballads, brought to crushing crescendos via super heavy drop-tuned sludge -- which sounds like a mess, but it works so well. It’s a killer record and probably would’ve landed higher on this year’s list if it hadn’t come out so late in the year.

12) Big Thief - UFOF

This one’s a bit of an outlier, and a damn good one at that. I came across UFOF via a friend’s recommendation before the hype train had left the station, and honestly didn’t know what to expect. Said recommendation simply said that it was good and infectious and probably a few other things that I can’t recall, but didn’t mention the folk thing (which is great because I probably would have passed). The friend was right. It’s good (maybe even great), incredibly infectious, and gave me a nice reprieve from the heavy stuff I tend to listen to on the regular.

11) Cave In - Final Transmission

I’m beyond thankful we got any new music from Cave In after Caleb passed. They owed us nothing, and had every right to walk away, but managed to rally to release a killer record that is heavy both sonically and conceptually, and still manages to give me chills despite being live demos recorded in a rehearsal room. There are few bands on the planet who’ve inspired me like Cave In have, and seeing them pull together to grieve and forge ahead to continue to build their legacy is even more inspiring. What a band.

10) Pedro The Lion - Phoenix

My favorite singer/songwriter of my generation decided to revive the project that made me a fan of his in the first place. That project put out a record for the first time in 15 years, and I had unreasonably high expectations for it. Phoenix delivered and then some. I remember sitting at my kitchen table, weeping into my cup of coffee the first time I heard Phoenix, the same way Control used to make it seem like the inside of the Thrice van was getting a little dusty during cross-country drives back in the early 00s. It blows my mind that David Bazan can be such a prolific artist, write such insanely powerful music, and seem incapable of writing a dud song.

9) Coilguns - Watchwinders

This Swiss noise-rock band kicks unbelievable amounts of ass. Their Millenials LP made my favorites list last year, and when I heard they had a follow up coming out a little over a year later, my gut reaction was to worry they’d blow it with a new record that was either rushed and/or half-assed, or lose the plot and take a hard left turn and make something markedly un-Coilguns. They did neither. The made an absolute monster of an album, that was apparently written in the studio, and is full of live energy in rawness that is pretty tough to capture in a sterile atmosphere like a studio. Watchwinders dropped in late October, and if I’d had a bit more time with it, I could see it moving up to my Top 5. It’s that good. I find myself going back to it constantly.

8) Blessed - Salt

This record kinda defies description, but it reminds me of everything from Pile to Menomena to Interpol to La Dispute to Devo at times. As scatterbrained and incongruent as that might sound, I assure you it rules. It was in verrrry heavy rotation this year -- mostly for the utterly filthy drum groove on the final track. If you like your music catchy, but slathered in weird, this is definitely gonna do the thing for you. It’s an incredible record.

7) Herod - Sombre Dessein

I hadn’t heard of this band before they popped up on a Spotify playlist early this year, and when “Reckoning” hit, it absolutely flattened me. You know that nuclear apocalypse scene from Terminator 2? That’s what “Reckoning” did to me. It was undoubtedly my favorite ultra-heavy track of the year, and while it’s my favorite song on the record by a pretty large margin, the rest of Sombre Dessein kicks ass too. It’s 42 minutes of crushing heaviness that kinda sounds like a blend of Cult Of Luna, Meshuggah, and Gojira. Heavy. Pissed. Unrelenting. And Outstanding.

6) Pile - Green & Grey

Every time I try to describe Pile to someone I fail. On Wikipedia they’re described as “indie rock”, which ... sure, I suppose? There’s a little post-punk in there, a little post-rock, a little noise-rock, nods to classic rock (maybe?), a little of that southern magic that made Colour Revolt so great (but Pile’s from Boston so hmm ... ), some country even? Do you like weird guitars? Freakish musicians? Melancholic crooning? I dunno. It’s all over the place, but in the best ways possible. They’re a singular band, and so damn good. Green & Grey is stellar addition to a discography that is already full of incredible music ... even if the album cover gives makes me want to fold those blankets and put them away.

5) PUP - Morbid Stuff

Was this the year that PUP broke? Definitely seems like it, and rightfully so. Morbid Stuff is my favorite thing they’ve ever done, but I’ve absolutely loved everything they’ve ever put out, so that’s saying a lot. Per usual, it’s insanely infectious and anthemic without being traditionally poppy or relying on tropes to burrow into your skull and take up residence there. It’s uplifting musically, but kinda depressing lyrically, which does this weird push/pull thing in my brain that makes it impossible to stop listening to. The musicianship is fantastic, the guitar parts especially -- like the guitar line in “Scorpion Hill” wow. I really needed a record to fill the gaping void between the metal/sludge/noise and the ambient/downtempo electronica I listened to this year, and Morbid Stuff fit the bill perfectly.

4) Cult Of Luna - A Dawn To Fear

These guys belong on the Mount Rushmore of Post-Rock/Metal with Neurosis and Isis. Nobody has done it better than them over the past two decades, and A Dawn To Fear is arguably their best work to date. It, like any Cult Of Luna requires a great deal of patience, but man if they don’t make the wait worth it. They’re the masters of the slow build to an absolutely crushing climax, the dynamic shifts that leave you feeling like you got hit by a freight train, the nuanced instrumentation that tells a different story each time you listen to a certain section of a song. They’re absolute masters at their craft, and this record is them at their peak.

3) Big|Brave - A Gaze Among Them

Another record that came out of nowhere to completely floor me. I hadn’t heard a single note from this band until a friend recommended I check out the opening track, “Muted Shifting Of Space”. I did ... and that plodding drum and bass pulse with dark, swirling, ethereal guitar swells/feedback and soaring vocals building into a huge release of sludgy, drop-tuned goodness checked off all the boxes for me. I was hooked. The atmosphere and dynamics Big|Brave have built their sound around give every song a cinematic feel -- if you close your eyes, can you see drone footage of landscapes too? . If you dig post-rock/metal that is experimental around the edges, moody, absurdly heavy, and has both feet firmly planted in sludge, this is a must-have record.

2) Cloudkicker - Unending

If you’ve been following me on social media or reading these year-end lists for a while you’re probably pretty familiar with Cloudkicker by now because any time we get new music I can’t shut up about it and the record invariably ends up on this list. This instance is no different. Unending is the first LP we’ve gotten from Ben Sharp in four years, and it’s worth the wait and then some. He’s managed to pull from every era of CK and turn it into a masterpiece mash-up of styles without it ever feeling rehashed or uninspired. I’d go far as to say this tops Beacons and Fade for me, and comes awfully close to challenging Subsume for my favorite Cloudkicker record of all time and space. There’s soooo much progressive and djenty masturbatory metal garbage floating in the ether right now. Hearing the one of the kings do the damn thing properly is incredibly refreshing.

1) Town Portal - Of Violence

No surprise here. I’ve been crapping my pants about this band ever since my good friend Scott Evans shared their music with me a couple years ago. I’ve been unhealthily obsessed ever since. The magical progressive rock/metal these three guys are capable melts and massages my brain in a way few bands ever have. Of Violence is incredibly mathy without ever feeling awkward, it’s melodic without being conventional, it’s discordant without being abrasive, it’s heavy as shit without being overloaded with distortion, it’s progressive as hell without ever coming remotely close to devolving into a wankfest, and it’s damn near perfect in every way. Songwriting? Great. Tones? Phenomenal. Musicianship? Otherworldly. Execution? Flawless. Mix? Perfect. Replayability? (Not a word, but ... ) PUT THIS RECORD ON A GODDAMN LOOP AND NEVER TURN IT OFF. Can you tell I like it? You might too, so give it a listen. And if by chance you do not like it, please see a doctor. You’re broken.

OTHER STUFF I REALLY ENJOYED THIS YEAR

HEAVY JAMS

METZ - Automat

Buildings - Negative Sound

Helms Alee - Noctiluca

Minors - Abject Bodies

Periphery - Periphery 4: HAIL STAN

Employed To Serve - Eternal Forward Motion

Elizabeth Colour Wheel - Nocero

Defeater - S/T

Pelican - Nighttime Stories

Spotlights - Love And Decay

Great Falls - A Sense of Rest

Baroness - Gold & Grey

The End of the Ocean - -aire

Vous Autres - Champ du Sang

Brutus - Nest

Torche - Admission

Glose - The Second Best of Glose

Throes - In The Hands of an Angry God

Slipknot - We Are Not Your Kind

meth. - Mother of Red Light

SECT - Blood of the Beasts

Kublai Khan TX - Absolute

Seizures - Reverie of the Revolving Diamond

Dead Kiwis - Systematic Home Run

Norma Jean - All Hail

Refused - War Music

Chamber - Ripping / Pulling / Tearing

MIDRANGE JAMS

Jimmy Eat World - Surviving

Elbow - Giants of All Sizes

Raketkanon - RKTKN #3

Bad Religion - Age of Unreason

The Appleseed Cast - The Fleeting Light of Impermanence

DIIV - Deceiver

Idiot Pilot - Blue Blood

Microwave - Death Is A Warm Blanket

Low Dose - S/T

SWMRS - Berkeley’s On Fire

Self-Evident - Lost Inside The Machinery

B. Hamilton - Nothing and Nowhere

MELLOW JAMS

Trade Wind - Certain Freedoms

Square Peg Round Hole - Branches

Great Grandpa - Four of Arrows

Local Natives - Violet Street

Rhone - Leaving State

Shlohmo - The End

Tycho - Weather

Bon Iver - i,i

Drowse - Light Mirror

Bonniesongs - Energetic Mind

Telefon Tel Aviv - Dreams Are Not Enough

GoGo Penguin - Ocean In A Drop

Bent Knee - You Know What They Mean

THE PODCAST QUEUE

The Deadcast (RIP) - sports, culture

Chapo Trap House - politics

The Rich Roll Podcast - health, wellness, endurance sports

Hang Up & Listen - sports

Effectively Wild - baseball

The Gist - current events

The Downbeat - drums, humor

To Live & Die In LA - true crime

FilmDrunk Frotcast - movies, culture, humor

The Modern Drummer Podcast with Mike & Mike - drums (duh)

The Trap Set - also drums

Song Exploder - songwriting

#music #AOTY #endoftheyearlist #topalbums

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dustedmagazine · 4 years

Text

Dust Volume 5, Number 13

Junius Paul

It’s our last Dust of the year, written in an odd holding period between the flood of fall releases and the first few indicators that 2020 will, indeed, have music. We’ll be revisiting our favorite records one more time in writers’ year-end essays and hitting a few more obscurities in an upcoming, clear-the-decks January Dust. Then it’s time to say goodbye to a year that sucked on so many levels, but not in the music. This time, contributors included Justin Cober-Lake, Bill Meyer, Jennifer Kelly, Andrew Forell, Jonathan Shaw, Ian Mathers, Ray Garraty and Tim Clarke.

Brian Shankar Adler — Fourth Dimension (Chant)

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Percussionist Brian Shankar Adler has a funny way of looking at the world. Or, rather, he has a funny way of looking through it. His Fourth Dimension seeks a new perspective, a new way to ask questions. Instead of trying to find new ground through abstract experimentation, he works his way into patterns and shapes that build on each other. The album opens with “Introduction Drone,” but that sort of minimalist composition provides only one small element of Adler's larger idea. He and his group glide between silent or repetitive space and more melodic, energetic bursts. The whole album, then, takes on an irregular but not erratic pulse. Vibraphonist Matt Moran provides an essential element of the disc's feel. Each artist in the quintet contributes — guitarist Joanthan Goldberger shapes particular moods, for example — but it's Moran's vibes that dictate how far the record pushes into new space. He sometimes disappears and sometimes flourishes. These movements, as much as even Adler's drumming, give the disc its musical arc and particular spot, whatever dimension you may find it in.

Justin Cober-Lake

Angles 9 — Beyond Us (Clean Feed)

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When a musician is as prolific and diverse in approach as Martin Küchen, it’s tempting to consider how each new recording fits into or extends his existing body of work. But Beyond Us often directs the listener’s attention away from Küchen and towards the skills of the eight musicians accompanying him. This is probably by design, since when you have such great players, you might as well give them chances to shine. Their collective associations extend beyond this band, which has managed to defy the prevailing economic tides in order to tour and record repeatedly over the past decade; you can also hear some of them in Paal Nilssen-Love’s Extra Large Unit and the Fire! Orchestra. Whether they’re enriching his arrangements with nuanced and energetic playing, or swinging and exulting during solos and duo exchanges, the rest of Angles 9 sound simply marvelous. In particular, trombonist Mats Älekint, cornetist Goran Kajfeš and pianist Alexander Zethson draw out the robust bluesiness of “U(n)happiez Marriages,” and baritone saxophonist proposes a Moorish counterpoint to the John Barry-ish theme of “Against the Permanent Revolution.” But everyone punches above their weight, making this a deeply satisfying addition to their collective catalogues.

Bill Meyer

Bach Tang — Born Too Alive (Dove Cove)

Bach Tang - Born Too Alive by Bach Tang

LA-based trio Bach Tang — that’s Oakley Tapola on voice and guitar, Dan Ryan on bass and vocals, Rebecca Spangenthaler on drums — channel the chaotic energy of Swell Maps, The Raincoats and Essential Logic on their EP Born Too Alive. This ten-minute, six-song collection combines mutant Beefheartian boogie, defiant DIY post-punk clatter, deliberately distorted vocals and gleefully amateurish noise into a willful concoction that dares you to turn it down whilst forcing you to turn it up. Opening track “Litter Licker” is a perfect 59 seconds of racing down a hill — tumbling drums, tripping bass, guitar slashes, what sounds at first like classic fucked up sax skronking revealing itself to be the exhalations of an exhausted runner. “Dragon’s Blood!” is most straight ahead song here with a recognizable riff and even some harmonizing before it briefly collapses in on itself before a final burst to a groaning end. Bach Tang understand that brevity is the soul of wit and if the vocals can be grating, the songs flash by with enough invention to encourage repeat listens. Fans of the aforementioned bands and their ilk will find much to be intrigued by on Born Too Alive.

Andrew Forell

The Catenary Wires — Til the Morning (Tapete)

Til The Morning by The Catenary Wires

The Catenary Wires — that’s Amelia Fletcher and Rob Pursey — make a lovely, wistful sort of indie pop that is perfectly in line with what you’d expect from people who were in Talulah Gosh, Heavenly, Marine Research and Tender Trap. This is their second album as Catenary Wires, but they’ve been at this sunshine-through-raindrops thing for a while, and the result is not exactly polish but casual grace. They seem to land exactly where they need to, every time, without much premeditation. “Dream Town,” the opener, brushes by with a reticent sureness, Fletcher’s airy soprano harmonizing with Pursey’s hollow, post-punk resonances, the whole thing stirred to gentle life with finger snaps and lilting, wafting background vocals. “Half-Written” (Fletcher leading) is nakedly spare in the verse, but blows into waltz-timed, multi-voiced crescendo in the chorus. Neither voice is perfectly tuned, but they join somehow in worn-in, comfortable harmonies like they’ve been doing it forever, and they have.

Jennifer Kelly

Drekka — Beings of ImberIndus (Somnimage)

Beings of ImberIndus by Drekka

Mkl Anderson (pronounced Michael) has been hanging onto the edge of outbound sound since the mid-1990s. During that time, he’s run the Bluesanct label, played in Jessica Bailiff’s band, and played both solo and collaboratively under the name Drekka. While he often releases music digitally, his production means are primarily analog. Anderson made this 70-minute expanse of non-electronic drone with Icelandic musician þórir Georg, and while between then they play pitch pipe, voice, metal, and bass guitar, what comes out of the speakers sounds long, dark, and entirely non-instrumental. This CD burrows deep into the heart of a sonic black sun, and if you thrive on not seeing the horizon, it could be your next auditory weighted blanket.

Bill Meyer

Lucas Gillan’s Many Blessings — Chit-Chatting With Herbie (Jerujazz Records)

Chit-Chatting With Herbie by Lucas Gillan's Many Blessings

The Jazz Record Art Collective is a concert series that recruits Chicagoan jazz musicians to perform a classic jazz album their way. Chit-Chatting With Herbie originated when series curator Chris Anderson commissioned drummer Lucas Gillan to participate. Gillan decided to use his band Many Blessings to provide a personal angle on Herbie Nichols Trio (Blue Note, 1956). Since Many Blessings is a piano-less quartet (with Quentin Coaxum, trumpet; Jim Schram, tenor saxophone; Daniel Thatcher, bass) and Nichols was a pianist who never recorded with horns, there’s room for interpretation. Since both horn players are pretty fluent, you never miss the chordal instrument. And since Gillan values Nichols’ delightful melodies, which shine with good humor, spirit and form transcend instrumentation. But be careful playing this record, because it’s bound to make you smile a lot. And like mom said, your face might get stuck that way.

Bill Meyer

Frode Haltli — Border Woods (Hubro)

Border Woods by Frode Haltli

In the woods, it’s not always easy to see where the borders lie. That zone of uncertainty is exactly where Norwegian accordionist situates this project. Not only does he include a Swede, nyckelharpa (a Swedish keyed fiddle) player Emilia Amper, to join his otherwise Norwegian ensemble. The music itself occupies a shadowy terrain in which classical composition from different centuries mixes with Norwegian folk themes and the squeezebox-rich atmosphere of pre-rock continental café music. Percussionists Håken Stene and Eirik Raude are equally adept at Steve Reich-like mallet patterns and bowed metal atmospherics, which operate as a backdrop for Amper and Haltli’s stark and moody melodies.

Bill Meyer

Matt Jencik — Dream Character (Hands in the Dark)

Dream Character by Matt Jencik

Implodes’ guitarist Matt Jencik applied thickly fuzzed-out and massively reverbed guitarscapes to Black Earth and Recurring Dream, the band’s two excellent albums for Kranky. On Jencik’s 2017 solo debut, Weird Times, stripping away Implodes’ vocals and post-punk-leaning rhythm section left his guitar to roam like a wraith, swathed in static, tracing simple yet affecting arcs against a turbulent backdrop of noisy guitar loops. Ambient rock, if you will. On his new album, Dream Character, his instrumental palette has expanded to include bass and keys (not that the sound sources are especially easy to discern), but his aesthetic focus remains as tight as ever. The result is hypnotic, offering a satisfyingly rich blend of tones with just enough movement to keep the listener entranced. While Jencik is clearly venturing into shadowy realms — signposted by song titles such as “Dead Comet Return,” “Night Gallery Pause” and “Lifeless Body Train Ride” — there’s often a shaft of light cast into the gloom, whether via brighter tones or intervals. The final track asks “R U OK” — like most music of this kind, it offers a reassuringly melancholy blanket of sound within which to take refuge.

Tim Clarke

Pedro Kastelijns — Som das Luzis (OAR!)

Som das Luzis by Pedro Kastelijns

Pedro Kastelijns hails from the same trippy Brazilian scene as Boogarins, and likewise, favors a brightly colored, soft-focus form of psychedelia that evokes Love, Os Mutantes and early aughts Animal Collective. A few cuts — “Olhos da Raposa,” for instance — tap into a beachy bossa nova vibe in the languid guitars and junk yard percussion. Others feel less rooted in place, and touched by an arch, fog-fuzzed indie rock exuberance (“Som das Luzis,” “Flux Estelar”) that brings to mind Ariel Pink. Kastelijns sings in a wobbly falsetto much of the time, and accompanies himself on very DIY sounding drums, guitars and keyboards, and there isn’t an indelible hook on the disc, despite the aspirational “Pop Gem” titles of two of the cuts. Listening is a little like being stoned—that is, pleasant, mildly disorienting and hard to remember afterwards.

Jennifer Kelly

Julian Loida — Wallflower (Julian Loida)

Wallflower by Julian Loida

Gateway experiences are often remembered with mild embarrassment; just because something pointed you in a particular direction doesn’t mean it’s the best example you’re ever going to hear. Julian Loida’s Wallflower might serve as a gateway to minimalism and contemporary composed percussion. Its ten pieces, which are mostly constructed around repetitive vibraphone and piano figure, are unfailingly melodic. The compositions are succinct and unmarred with sudden changes, ensuring that listeners will not be taxed or distracted over each one’s course. Nor is he going to throw you off with extended techniques; he’s quite comfortable working with the vibraphone’s familiar, dreamy zone. But while he’s not going to wear anyone out, he doesn’t talk down to anyone, either. This music communicates directly, and it feels sincere in its simplicity. Gift it to the teenaged symphonic percussionist or budding ambient listener in your life.

Bill Meyer

Aurora Nealand / Steve Marquette / Anton Hatwich / Paul Thibodeaux — Kobra Quartet (Astral Spirits)

Kobra Quartet by Aurora Nealand / Steve Marquette / Anton Hatwich / Paul Thibodeaux

Around a century back, jazz progenitors King Oliver and Louis Armstrong travelled between New Orleans and Chicago, playing in both cities. While the two towns have gone on to develop jazz heritages with very different characters, a cadre of musicians has been cutting edge players from each back together in recent years. In a way, this isn’t new; the late Fred Anderson and Kidd Jordan enacted annual summits on the Velvet Lounge for years, and Jeb Bishop and Jeff Albert made the lemons of Hurricane Katrina into a sweet-sounding brew called the Lucky 7s. But guitarist Steve Marquette’s Instigation Festivals, which have taken place in both cities, have fostered a more complex combination of talents involving both cities’ avant-gardes. This quartet began as a free improv encounter involving two musicians from each city, but it turned out so well that the name of this tape became the name of a new band. Their music may build on past examples, but it’s definitely of its moment. Marquette’s resonant feedback and Anton Hatwich’s droning double bass bridge the electro-acoustic divide, and Paul Thibodeaux’s elastic beats suggest internal reverie more than second-line grooves. But it’s Aurora Nealand’s electronically processed singing and glassy tendrils of accordion that center this music within an otherworldly zone, albeit one where it’s still possible to stumble out of a late-night party in a black hole and find yourself blinking in the middle of a street party.

Bill Meyer

Junius Paul — Ism (International Anthem)

Ism by Junius Paul

Junius Paul is a shit-hot Chicago jazz bassist, a frequent collaborator with Makaya McCraven, one of the younger members of the Art Ensemble of Chicago and a long-time habitué of the Velvet Lounge on the South Side. On this, his first album as bandleader, he exhibits a startling versatility, switching from acoustic to electric and back, spinning into heady frenzies (“You Are Free to Choose”) and pulling back into monastic discipline in minimalist tone poems (“Bowl Hit”). Paul is not above hitting a life-affirming groove, a la the laid back skronky swagger of “Baker’s Dozen,” but he’s also not married to it, witness the smouldery bowed abstractions of “Ma and Dad.” “Spockey Chainsey Has Re-Emerged” takes up a smoking quarter of the album’s duration, Paul’s restless bass pulsing under a fever dream of wild squalls of trumpet, luminous electric keyboards and a surge and roll of drumming. There’s plenty of great bass here, for fans of that sound, but Paul’s real strength is as a band leader and composer, leading a daring group of fellow travelers — Isaiah Spencer, Justin Dillard, Rajiv Halim, and Jim Baker — towards parts unknown.

Jennifer Kelly

Ploughshare — Tellurian Insurgency (I, Voidhanger)

Tellurian Insurgency by PLOUGHSHARE

This new EP from Ploughshare curdles and oozes with ugly blackened death metal — or perhaps in this case, it’s deathy black metal? As metal subgenres and sub-subgenres (really, it’s getting Melvillean at this point…) hybridize and mutate, the community of engaged listeners and creators sometimes gets overly invested in categorization and species identification. And there’s so much to observe, out in the wild spaces of culture. To wit: For three years now, this bunch of weirdos from Canberra has been churning out songs with unpleasant titles like “The Urinary Chalice Held Aloft” and “In Offal, Salvation.” But if you can groove with the scatological wordplay, the riffs are pretty good. The record’s A-side, which includes “Abreactive Trance,” suggests that these guys (guys? no names are available) have spent some serious time listening to Deathspell Omega’s Paracletus. Let’s hope Ploughshare doesn’t share that other band’s irredeemable politics. Just what is a “Tellurian” insurgency? A fantasy of the Earthball’s primitive lifeforce striking back? More facile chest-beating about “anti-human” noise? And just how serious or cynical is the band’s appropriation of that famous image from the Book of Isaiah? Hard to say. But the guitar tone cuts more like a sword.

Jonathan Shaw

Omar Souleyman—Schlon (Mad Decent)

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Omar Souleyman, Syria’s best known wedding singer turned global recording phenomenon (he’s made over 500 records), brings joy in a world of trouble. Souleyman hails from Ras al-Ayn in northeastern Syria, an area that has, over the last several years, been fought over by Syria, the Kurds, Isis and the Turkish Army. He’s been living in Turkey since 2011, but things are not so great there either. So, it is remarkable, in its way, that Souleyman’s latest album, a mash-up of traditional dabke, disco and techno, is so very celebratory. Rave meets traditional wedding dance in the synth-y, string-slashing “Abou Zilif,” a cut that situates a stirring, primal male-sung chorus amid a Levantine-flavored disco. “Layle” likewise moves fast and relentlessly, bursts of saz (Azad Salih) winding through thickets of multi-toned drums. It hits hard and repeatedly, and if this is what people dance to at weddings in rural Syria, hats off. I’m exhausted just sitting on the couch.

Jennifer Kelly

SunnO))) — Pyroclasts (Southern Lord)

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Pyroclasts is one of those releases that, viewed from one angle, seems to be at best inessential. Drone metal titans SunnO))) have already given 2019, in the form of Life Metal (which, as Dusted’s Jonathan Shaw puts it, is “a record that seeks the sublime”), an extremely essential record. If you were only going to listen to one album from them this year, that one is the one to start with. This one, by contrast, is literally a collection of some of the drones that Stephen O’Malley, Greg Anderson and their various guests and compatriots would start each day in the studio with when recording Life Metal. And yet, if you take a slightly different angle on it, Pyroclasts (named for the aftereffects of volcanic eruption) starts feeling more than anything else like a product of generosity. These were literally the exercises/rituals they began each working day with to get in the right frame of mind to make Life Metal; it would be entirely understandable if they didn’t want to share them with the world. The result both suffers and benefits from the much narrowed focus compared to their big brother; it doesn’t do everything Life Metal does, but if all you want is just under 44 minutes of straightforwardly brain-frying drone, Pyroclasts is here for you.

Ian Mathers

Horace Tapscott with the Pan Afrikan Peoples Arkestra and the Great Voice of UGMAA — Why Don’t You Listen? (Dark Tree)

Why Don't You Listen? - Live at LACMA, 1998 by Horace Tapscott with the Pan Afrikan Peoples Arkestra and the Great Voice of UGMAA

Recent lauded efforts by Angel Bat Dawid and Damon Locks suggest that socially conscious spiritual jazz is sending a message that makes a lot of sense in 2019. If such music speaks to you, consider checking out the work of Horace Tapscott, and particularly this welcome archival find. He was a composer, bandleader and pianist based in Los Angeles who led the Pan Afrikan Peoples Arkestra from the 1960s until his death in 1999. Inspired by big bands lead by Duke Ellington and Sun Ra but concerned with celebrating and uniting the community where he lived, he fashioned music that into an exposition and affirmation of pride in pan-African and African-American ways and culture. This live recording of his ten-piece band in performance with a similarly-sized choir named the Union of God Musicians and Artists Ascension puts a hard stop on his timeline; it was the last time he played piano in public, since the aggressive cancer that ultimately killed him would first limit him to conducting in last appearances. There’s nothing wrong with playing here; he, saxophonist Michael Session, and trombonist Phil Ranelin all essay impassioned solos over the Arkestra’s massed percussion. But it’s the voices, led by singer Dwight Tribble, that embody Tapscott’s communal commitment and articulate his cultural concerns.

Bill Meyer

TENGGER — Spiritual 2 (Beyond Beyond is Beyond)

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It’s hard to create the kind of New Age-y post-kosmische psych drone that TENGGER does without having some kind of mystical angle, but the travelling musical family known as TENGGER leans into that harder than some. The mantra to focus on for this fine follow up to 2017’s recently reissued collection of harmonium, voice and synth-jams Spiritual is “if you’re looking at something, you should recognize that there is something invisible behind it”. Like most similar insights, let alone ones meant to be applied to a work of art, you’re probably going to get what you put into that one out of it, which means if you’re on TENGGER’s wavelength you probably already feel what they’re going for. Much of Spiritual 2 is fully up to the standard of its predecessor (the gently fried “See”, the suspended vocals of “Kyrie”, the softly pulsing extended length of “Wasserwellen”), but they show the most promising signs of growth when they adopt a bit of formal rigour. On the three-part dilatory experiment of “High,” “Middle” and “Low,” just subjecting the same melody to different speeds brings out something clarifying about the whole sound. You can really start to glimpse whatever invisible is behind it.

Ian Mathers

Various Artists — Pop Ambient 2020 (Kompakt)

Pop Ambient 2020 by Various Artists

Kompakt celebrates twenty years of the Pop Ambient series with a new collection of beatless luminance featuring stalwarts Joachim Spieth, Thomas Fehlman and Markus Guentner as well as some of the lesser-known names on the label’s roster.

Thore Pfeiffer’s “Urquell” — an acoustic guitar over an unobtrusive bed of synths and scratchy strings — sets the mood for the subsequent 85 minutes. Tracks float by lulling the listener into a state between dreams and catatonia. Good then that Maria Estrella reminds us to breathe on Morgan Wurde’s “Laesst Los,” a quite lovely track built on string beds, treated whispers and Estrella’s gentle instructions. The only vaguely unsettling moments come during Fehlman’s “Liebesperlen” with its lysergic take on deep house. NZ based composer Andrew Thomas rounds off the collection with two short pieces of atmospheric piano based contemporary minimalism that veer into Max Richter territory and are all the better for it. Pop Ambient 2020 is a warm bath; comfortable and enveloping without the depths to threaten, it passes by with few demands, diffident to the point of vanishing. Perfect for the next session in a hyperbaric chamber or MRI where at least there are whirrs and clicks to keep you alert.

Andrew Forell

Winds of Egotism — Winds of Egotism (Death’s Radiance)

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When Plato wrote his cave allegory, he couldn’t have Winds of Egotism in mind, yet his allegory became a reality with the band’s self-titled album. The band members haven’t left the cave and instead smuggled the gear in (even the country of origin is undisclosed). The resulting music raw, monotonic and unpretentious enough to be mistaken for drone. The guitar excavates sounds so primitive that it sounds more like an echo from the cave walls than a guitar. Couldn’t they ask Satan for better equipment? This EP is 17 minutes long total, just two short untitled tracks, with no audible difference between them. If true black metal is music that which doesn’t sound like black metal, then this is it. Plato or no Plato.

Ray Garraty

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intoxicatingimmediacy · 5 years

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Big Ups: Clipping Pick Their Bandcamp Favorites

“Right from the beginning, we always wanted to make a horror-themed record,” says Jonathan Snipes, a producer in the Los Angeles-based progressive noise-rap trio Clipping, alongside MC Daveed Diggs and fellow beatsmith Bill Hutson. The group’s third project for Sub Pop, There Existed an Addiction to Blood, updates the cult horrorcore hip-hop trend of the mid ‘90s in a thrilling and forward-thinking fashion. It’s a striking and deeply atmospheric record, powered by synth-based sonic experimentalism and grisly concept-focused writing that exudes a sinister and shadowy feel.

There Existed an Addiction to Blood adds to a stellar canon of work that kicked off with Clipping’s introductory midcity mixtape in 2013. “That one was really us learning how to be Clipping, and what we sounded like,” says Hutson, who helped mastermind the project’s metallic, glitch-afflicted beats. On the following year’s debut album, CLPPNG, the crew moved further towards what Hutson calls “dark and noise-tinged instrumentals.” The omission of the letter I in the album title represents the way Diggs avoids rhyming in the first person. Hutson maintains that if much of hip-hop involves MCs rapping about their own lives, Clipping’s music strives to be “a novel, not a memoir.” Case in point: 2016’s Splendor & Misery took shape as an Afrofuturist sci-fi adventure that explored an artificial intelligence world; 2017’s single “The Deep” inspired the author Rivers Solomon to expand the song’s environment into a novella of the same name.

Basing There Existed an Addiction to Blood around horrorcore and gory movies is a natural representation of Clipping’s influences and the way the trio approach writing songs. “Horrorcore is this forgotten and maligned subgenre of hip-hop that we’ve always had a tremendous amount of affection for,” says Hutson. “So much of Clipping is about referencing styles of hip-hop—almost all our songs were conceived as our take on a certain type of rap song—so this horror album was always going to happen.” Snipes adds, “We think of each of these songs as self-contained movie scores of vignettes in a specific genre.”

The original horrorcore movement that inspired Clipping’s latest album was spearheaded by RZA and Prince Paul’s Gravediggaz project, plus artists including Houston’s Ganksta N-I-P, Detroit’s Esham, and New York City’s Flatlinerz. ‘90s horrorcore lyrics were packed with macabre imagery and references to psychological disorders, satanism, and cannibalism; the gruesome verses were often relayed over willfully dank and grimey production. Clipping’s resurrection of the subgenre taps into the same lyrical themes—but this time Digg’s intense verses are backed by marauding waves of monstrous synths, sharp abrasive stabs of discordant noise, and snatches of field recordings that bring a chilling realism to There Existed an Addiction to Blood.

Key song “Run For Your Life” plays out like a frantic short movie. It co-stars Memphis MC La Chat, who used to roll with Three 6 Mafia and the Hypnotize Minds roster back in the ‘90s. “She’s hunting down Daveed and approaching and moving behind him in a car,” says Snipes. “Then in the third verse, we’re fully in the car with her.” To drum up the effect of the protagonist being chased to a bloody demise, Digg’s lyrics are surrounded by constantly shifting ambient noise: The sound of passing cars blasting music and dogs barking literally pulls the listener into the chilling scenario.

The same blend of adventurous production techniques and concept-heavy writing present on Clipping’s latest album also runs through Hutson and Snipes’s Bandcamp recommendations. Blasts of abstract hip-hop lyricism mix with innovative thematic albums and avant-garde film scores, adding up to a smart representation of Clipping’s advanced-level musical DNA.

Bill Hutson

Dax Pierson - Live In Oakland

I first saw Dax Pierson play around 2003, when he was in a group called Subtle that was an Anticon side project with Dose One and Jel. Dax was also the secret weapon of the Themselves project, which was also Dose and Jel, and on tour he’d play keys and finger drum on MPCs. Dax is this compelling, creative performer and composer. This tape came out on Ratskin and it’s from a more recent show—I might have even been at the show! His music is fascinating, almost uncategorizable left-field dance stuff that’s blending all these ideas.

John Wall - Hylic

I was really enamored of improvised music in the early ‘00s, and it’s a lot of what fueled my ravenous collector habit, which came from having to track down these obscure records that came from Japan and Germany and Switzerland and England, where they were only pressing a couple of hundred copies. John Wall is very careful as a computer music composer, and he’d spend years and years cutting up tiny pieces of improvised sounds and turning them into these totally austere and totally alien compositions. I was fascinated by the disparity between how much intention there was behind it and how alien the result sounds. Hylic almost sounds like there’s no human brain making logical choices that would compose this music—it feels like it’s naturally occurring in some way, like you’re listening to the background radiation of the solar system—but there’s also the most extreme version of authorship going into it.

billy woods - Hiding Places

I think billy woods is a fantastic example of this very abstract and angular and strange rapper but with these really strong connections to the history of New York rap. It’s almost like he’s from a different timeline where southern hip-hop didn’t take over the mainstream in the ‘00s and we kept going with Nas and Wu-Tang, and it’s developed into this new form. [Producer] Kenny Segal is a buddy—we’ve toured with him—and he would have been a youngster in the Project Blowed days but came out of the experimental L.A. hip-hop scene that produced Abstract Rude and Freestyle Fellowship and, later with the beatmakers, birthed the whole Low End Theory and Brainfeeder movement. This album is a New York and L.A. collab record that seems to perfectly synthesize two different types of left of center aesthetics, but feels completely natural in a way we wouldn’t have expected maybe 20 years ago.

Kevin Drumm - 09082001 gtr/synth ‘solo’

I included this not because anyone needs me to tell them Kevin Drumm is a fuckin’ noise hero, but I wanted to include Drumm because I think what he’s doing is a really unique thing that Bandcamp can provide: A couple of months ago I bought Drumm’s entire discography for like $22, which was like a hundred or so releases! He puts out so much, and it’s all of such high quality. This specific recording is from my favorite period of his work in the early-2000s, but it wasn’t available [back then] until he started bypassing labels and physical copies and started putting everything up himself direct to the fans.

DEBBY FRIDAY - DEATH DRIVE

[The label] Deathbomb Arc put out some of the first Clipping stuff. I think of [founder] Brian Miller as A&Ring my listening habits because he’s out there finding new artists I wouldn’t come across and putting out their records. DEBBY FRIDAY completely blew me away—this release seems both out of nowhere and so fully formed. It’s just brilliant and sort of industrial hip-hop. It’s really like the best Skinny Puppy album we never got but with way better lyrics and content and performance. It’s so smart and dark—she’s a really great lyricist.

Jonathan Snipes

Missincinatti - remove not the ancient landmarks

Missincinatti was Jeremy Drake, Jessica Catron, and Corey Fogel, and they had this band for a short time in L.A. where they played these contemporary arrangements of sea shanties. They’re all incredible musicians, and their arrangements were always so off-kilter and smart. This album is only on Bandcamp, and it’s like a little monument to this band that I loved so much for a short time. One of my favorite things is arrangements of folk music that almost feel like critical theory about folk music and this project feels like it’s in this realm. I wish they were still around playing shows so I could go to them.

François-Eudes Chanfrault - Inside

I discovered François-Eudes Chanfrault when I saw the movie for which this is the score. Then, when I started looking into François’s music, I realized that I’d run across him in online nerdy computer music circles. He became one of my favorite composers, and I became obsessed with tracking his music down. The development of the Inside score is really slow and tasteful, and that’s hard to accomplish when working with film. I also score movies, and film music always feels like if the music’s following a picture. It wants to be fast and have abrupt changes—but François is someone who is somehow able to make these really long elegant cues that actually play against the action of the film in this really striking way. It’s probably the last score I’d expect anybody to write for that movie, and it hits exactly the right tone. His use of electronics and computers and his use of a chamber ensemble are perfectly matched.

Lauren Bousfield - Fire Songs

Lauren’s a really good friend, and this album’s only available on Bandcamp. She’s an incredible musician—an absolute genius. This is the album she released shortly after her house burned down and she lost all her possessions in the fire. It feels very personal. It’s easy to think of electronic and breakcore as just splattered breakbeats that feel mechanical and machine-based. But this one, with the context [of the backstory], feels very emotional, and almost makes me tear up when I hear it.

Bryce Miller - W A S P

Bryce Miller is someone I found through some Bandcamp journalism, which I read regularly. This album, which is based on the Stieg Larsson Millennium books, is elegant and precise. There’s a lot of this retro ’80s synthwave stuff flying around—I’ve made a fair bit of it myself—but somehow this really nailed the tone of feeling very contemporary, but also very ancient. It’s like what I wanted synth records in the ’80s to sound like at the time, but they never quite did. The sense of melody and structure and tension and release is really spot on. Bryce feels like a real composer in that realm.

Max Tundra - With Love To Mummy

I first heard Max Tundra on the double disc compilation Tigerbeat6 Inc. from like 2001. I was really into Aphex Twin and Squarepusher and Kid606 and Matmos, and I was trying to figure out who was doing weird electronic music and that comp came out and it ended up being a huge window into bands I’d never heard of. Max Tundra’s track [“The Bill”] sounded like a general MIDI soundtrack to a spy show that he’d recorded into his answering machine! I’ve been a lifelong fan of his since then, and this collection is, like, his teenage recordings—it’s really interesting to hear his old music. It’s charming and fun to listen to as a fan, and to note where his music took him after that. I suppose other people feel the same way about that Radiohead release.

#clipping.#clipping #bill hutson #jonathan snipes #daveed diggs

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doomedandstoned · 5 years

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I’ll Take a Sling of Singapore Sludge, Thank You

Axis Mundi is the name. Learn it well.

It wasn't two months ago that I stumbled upon 'The Depths' (2019), debut EP by sludge metal trio AXIS MUNDI. I'm aware of merely a handful of heavy bands from the Republic of Singapore (which is totally my fault, I'm sure), but it wasn't just the novelty of relative obscurity that gave the band its allure. When I listened to The Depths, it was its hard-biting heaviness, gritty realism, and (I confess) the courage to cover Nirvana that ultimately endeared me to vocalist Sathish Kumar, guitarist Vinod Dass, and drummer Mitch Goon. Following is my exchange with Vinod about the band's origins, the meaning behind their name, and what it's like to be oh so sludge in Singapore.

☿

I have to say, we haven't encountered too many sludge or death-doom bands in Singapore, but it's encouraging to see more and more with each passing year. Tell us, if you please, how Axis Mundi got its start and introduce us to the members of the band.

The idea to form this band came to me in early 2018 after coming back to home soil after staying abroad for about two years. I got my first exposure to the sludge and stoner doom in Melbourne Australia by getting my face completely melted off by Dixie and gang from Weedeater, it was one of the first gigs I attended in Melbourne and it really resonated with me as it was something completely fresh and different from the mainly thrash and death scene metal -- the whole lineup for this band all played and still play in death metal bands back home. (laughs) And seeing then drummer Travis Owens bouncing sticks off the floor while destroying the drums was a life changing experience no doubt.

I had some things to express and found myself naturally starting to write in the direction of sludge and doom and decided it was time to get some partners in crime, so I got in touch with Mitch for drums, since we played together in a previous band for close to a decade and I knew his hard hitting style would suit the sound I was going for.

I then hit up Sathish, who was the vocalist of his band I was sessioning bass for. I loved his low growls and aggression and thought it was a perfect fit for what I wanted. We formed around march of 2018, so it is a very fresh band although its members have been (and still are) close friends for more than a decade.

What is the significance of the name Axis Mundi?

The term Axis Mundi hit me after getting into the study of symbols and their significance to the human mind. I had always found them interesting and the deeper I read into them the symbol of the World Tree kept reappearing in art and media I resonated with, especially during the writing phase of this EP, so I let things take their course. Its basic idea is the center of the universe, the connection of higher and lower, heaven and earth, Consciousness and the Unconscious.

What are some distinctives of your style? Asked another way, how would you describe your sound to someone who has never heard you before?

What resulted from the three of us coming together was a blend of the sludge and doom riffs together with a faster tempo coupled with brutal vocals. I was listening to a lot of High on Fire, Monolord and Nails, my drummer was listening to Dyscarnate and Aborted and my vocalist was pushing Full of Hell and Comeback Kid. So ideas were pulled from all these sources!

You have a new EP! Walk us through it, please, track by track (sharing any background about each song's composition and recording, lyrical and thematic tie-ins, and any anecdotes that come to mind related to each).

Track 1 – The Depths

The Depths EP by Axis Mundi

The basic idea behind this track was it was going to be a noise track introducing the album and was meant to put the idea of being “down in the depths” to the listener, which was kind of how I was feeling as I wrote this record, so I though this was a good place to begin. I took this chance to give some Bladerunner 2049 worship. That movie was a goddamn religious experience sonically and visually.

Track 2 – Summoning the Serpent

The Depths EP by Axis Mundi

This song was the first song to be completed in terms of writing for the EP. It was one of the cases where I had a couple of riffs and had no idea how to bring them together or even if they were going to be part of the same song, but the moment the band came together, everything fit together like a jigsaw puzzle out of the blue, that kind of creative spark is the shit I live for. The basic idea for the song is the looking inside of oneself to come face to face with your fears and your flaws, to summon them up like a serpent and face them.

Track 3 – Revelations

The Depths EP by Axis Mundi

The opening riff of this song is the riff which gave birth to the band, it was one of the first riffs written, but it was also one of the last songs to be completed as we were writing for an album. The writing process for this song was really one of patience, I would try some ideas out with the band, they wouldn’t work and we would be back at the drawing board, but I remember I had to keep reminding myself not to rush things and cram some jackass riff in there just to finish the song. It had to feel right.

The driving force of this song was one of searching -- searching for clarity, for vision, for meaning. It ties in with Track 2 as Summoning the Serpent is like an admission of wrongdoing and Revelations is like a search for a new path.

Track 4 – Territorial Pissings

The Depths EP by Axis Mundi

I am a super huge Nirvana fan and I knew I wanted to cover one of their songs for this release. I also wanted to do it our way and put our own twist to it as I love it when bands do that. This was another song that came out the way it was in like 10 minutes, and now that I’m thinking about it, the chorus of this song actually ties in with Revelations. (laughs) Life is strange.

Who is responsible for the album art and what does it signify?

The album art work is done by Faris Samri, a killer drummer I used to play with in a black metal band! I happened upon some of his designs and thought he could take my rough demo for the album art to the next level. I came into contact with the Adinkra symbol "Hye Won Hye" which basically means "that which cannot be burnt," a West African symbol of endurance, which I thought was perfect for the EP. I then decided to recreate the symbol with the goat skull and Christ on the cross, which is the voluntary acceptance of suffering, symbolically speaking. The skull and cross was mirrored downward, creating the symbol of Hye Won Hye, as well as signifying the duality within a person, light and dark, love and hate and the struggle to balance them. Faris took it to the next level with the addition of flames to the lower half. Here is his take on it:

“The artwork was meant to resemble an Adinkran symbol of endurance. Reading more into its origins, it is said that the symbol got its meaning from traditional priests who were capable of walking on fire without being burnt. This made me inclined to include the element of fire from its history into my illustration.

I began by drawing the first goat skull, engulfing it in flames, scorching some of its original skeletal features. Before I began on the second skull, I realised I was not fond of the idea of having two identical burning goat skulls, as I could have easily duplicated the one i had just drawn and inverted it to complete the illustration. Referring back to the bed of fire the priests had to walk on, I decided to illustrate flames in the shape of the goat skull instead of the actual skull. These newly drawn flames will enter through the first goat skull, which exhibits the skull’s imperishability in such circumstances.

The next step was to colour the piece, which I did on Photoshop as I wanted to experiment with a selection of palettes I had come up with. The colours chosen mostly had a gore or horror vibe about them, referencing older metal album artworks from bands like Slipknot or Mastodon, to Horror film posters such as It or Blair Witch Project.”

What are some of the bands you play with in Singapore and, more specifically, how is the doom-sludge scene in your country?

Mitch and I played in a death metal outfit called Zaganoth, which was our first serious band and Sathish used to head another death metal band called Stillborn and both bands used to play shows with each other in the past!

Now besides playing in this band I play guitars for Truth Be Known a death/funcore veteran band that is heading down south to Australia for the Dead of Winter Festival! I also play in a band called Mucus Mortuary which is a -- well, I don’t have words to describe this band you have to see it for yourself. (laughs)

The sludge and doom scene in Singapore is pretty small even within the heavy music scene here (might be the insane laws against drugs but who knows eh?) however the bands that are currently holding up the banner are killer, check out Marijannah, Hrvst and Beelzebud!

Thank you so much for visiting with Doomed & Stoned! We wish you much success now and in the future.

Thank you so much for taking the time to listen to some music coming out of a dot in the world map! I am humbled and grateful for this opportunity and may The Doomed and Stoned Show last for many seasons to come!

God Luck and Good Speed.

The Great Axis Mundi Giveaway!

Come one, come all! Get your own copy of 'The Depths' (2019) by Axis Mundi by grabbing one of the available download codes below. Hurry, these will go quickly! Redeem them here.

ln2g-7clq 4amy-5h5t e78z-752b gwnn-vuwx 3sav-kphp dq78-6np2 pgw2-ym7c 6vhe-jb8y kfeb-ycuf ka7l-bxam n654-xv3g my7j-58du 9tmr-b24p 3u8a-wlj2 55zb-he8c b8t5-5bbx dnn9-7wlq s5az-5x5t j7nh-ufze 7lwp-eqku vsj8-3tgq fjb3-c7fz mbxw-xej6 9acq-j38y yfjf-ywuf y5bx-34am 38as-hq3g azfp-5tdu 8yab-bb4p xjfg-k7e2 j9dn-gvfc 724m-ukex lxp7-v9np 4e6d-g8vn qr3s-unze blxe-emku 5ceg-3ggq rj7n-cufz afwl-x5j6 8ahj-vr8y xun8-7sxq hmat-5lat jr9y-7a3b 9x23-v7dx ncmm-654p lpr9-kue2 e9lu-yqfc b3ca-79ex dxjr-vznp sqgw-gtvn pruc-u7ze vkbq-egwu 6yvf-33hp u2gv-w4q2 mvtr-hpgc fgza-52rx l22g-7dxq cmmy-5hat eb8z-7e3b 8xnn-vudx 24av-kp4p dp78-6fe2 v7wd-xaq6 65he-j2gy kreb-ycnf zm7l-bh5m ng54-xv2g 5k7j-eywu gzmr-brhp 338a-wlq2 avzb-hagc r9t5-5brx d2n9-7cxq hj8l-yymn jbnh-7uke 7dwp-eqzu m4j8-3t8q feb3-cn7z 57xw-xeq6 gmcq-jbgy yrjf-ywnf tvbx-bx5m 29as-hq2g atfp-58wu uha5-6ahp xefg-k7p2 j8dn-gj7c fn4m-ukpx lwp7-jkup cj6d-g8mn ef3s-ufke bdxe-emzu aheg-3g8q re7n-c77z arwl-x5q6 79kv-e3bx x3n8-7slq haat-545t qf9y-7a2b

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nervouswreck-96 · 5 years

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Supernova (Sonic fanfic): Chapter 5: What's He Building In There?

Well…shoot. I can't really say anything here, other than I'm sorry. This is where you'd usually find me giving an excuse for slacking off (busy schedule, hectic family life, kidnapped by Bowser, etc.), but I honestly don't have one. There is no explanation for the delay other than a combination of writer's block, a horrific lack of inspiration, and flat-out laziness on my part.

In fact, the chapter you're reading here is somewhat unfinished, making up about 75-80% of the chapter I wanted to write. I'm only posting it for the sake of posting something, and just to see if anyone is still interested.

Don't be surprised if it takes another year for the next chapter to come out, although reviews may shorten the wait ever so slightly.

...too late.

He exhaled, forgetting his place for a moment, and slumped in defeat. Disconnected chunks of black plastic sliced through the lining of his gloves, cutting into his hands. This was all that was left of Tails' communicator. The damned thing had burst open from the casing, revealing a veritable Escher painting of disconnected wiring and snapped capacitors. Through the wreckage of what used to be a working radio, Sonic swore he could hear voices reaching out to him…the same ones he knew might be calling his name this very second, seeking a connection which had been rudely cut.

For a moment, time froze in the fierce stare between Sonic and his metallic duplicate, which isolated the two from the carnage formed in their struggle. A curtain of smoke enveloped the two combatants, as hardly a square inch of the once-pristine area remained untouched by Metal Sonic's explosive arsenal. But at last, there was a moment to breathe, free of the steady stream of fire, shrapnel, and near-death. The orchestra of battle went into intermission, its echoes still ringing in Sonic's eardrum. Still, it was nice to be able to hear his own thoughts for a change. Then again, that didn't mean very much when those thoughts mostly consisted of the words "too late" playing on a continuous loop.

Which quickly shifted to "get him".

Still very much compromised by the high-speed collision with solid ground, Sonic's mind continued to send mixed signals, playing a sick game with his sense of direction. He was twisting, spiraling, traveling at a million miles a minute, yet at the same time, going nowhere, for he knew his hands and feet were tethered to the floor. Even the slightest impulse to his eyes sliced and stabbed at his cranium, which with each passing second felt more and more like an overripe cantaloupe which had some things done to it by a sledgehammer, but by now he'd kept them closed for so long he didn't realize the multi-colored morass of noise in front of him was only an illusion. Regardless – once he worked out which way was up - he contracted his left leg and used it along with his right arm to push himself off the ground.

No sooner had he raised his body off the canvas than it slammed back down again, weighed down by a heavy, steel boot.

Urghhh…feels like someone dropped an anvil on me!

Second by second, keeping his body above the floor became more of a struggle. The weight on his back only seemed to grow heavier the more he fought against it. One forearm could only quiver at the sheer effort it took, so he moved his other down for extra support. But it did no good. The shaky foundation looked ready to crumble at any moment.

No…no, come on, you're better than that! Fight through it, Sonic! Fight through it!

But his puny arms could not take the strain, and his tenuous grip gave way. As he collapsed chest-first to the floor, repressed physical torment was unleashed in a firestorm that exploded from his aching calf muscle and raced up his backside, forcing a bone-chilling wail out of his mouth before he even realized the noise had come from him. That did it. No longer could he bottle everything up. He had been sent over the threshold where the deepest of primal urges finally surpassed overcame his will to fight them off.

There was something weighing him down. Metal Sonic stood over the pathetic sight…staring at him…judging him...his titanium foot firmly nailing the hedgehog to the floor.

"So…this is what the self-proclaimed hero of the universe, slayer of gods, savior of time and space, has been reduced to? Hmmph," he said, afterwards doing his best to synthesize the sound of a disapproving sigh. "I must say, I can't help but feel disappointed."

"Urgh...I've gotten out of bigger jams than this!" The words choked, sputtered out of his mouth as he fought and clawed to escape Metal's hold. He had to keep to short, stilted sentences, a sensible balance for getting his burning thoughts out.

Suddenly, a breakthrough. Sonic's glove managed to catch on a random spot on the floor, and saw his chance to propel to it and break free. He gradually swung his one free arm out, too gradually, and that's as far as he got. Metal Sonic swooped on the maneuver and crushed it with the other foot. With the hedgehog back under control, Metal leaned over to face Sonic's ear, in the process driving just a few more pounds worth of pressure into his back.

"You are nothing more than a horsefly who thinks himself capable of slaying a lion," said Metal. "As I see it, you have two choices; surrender to the Eggman Empire or face the inevitable."

Sonic's teeth clenched, as he channeled his own physical torment into seething rage, glaring with such fury that he could almost feel his eyes changing to match Metal Sonic's blazing red. 'Surrender'. 'Inevitable'. Those words tended to have that effect on him...now, of all times.

A subconscious impulse glued him to the floor, sending him on a mental journey to the other side of the ESS-1, and a picture emerged in front of him where there was none before, a picture of Tails and Knuckles' battered and broken forms lying before him, bearing the scars and bruises forced upon him by some unknown attacker.

But that's all it was. A picture. An apparition. They may have been on a distant planet for all he knew. The radio transmission was the only link the three had left to share, and it was gone.

Guys…I don't know if I'm gonna make it out of this one…

He scooped the cluster of metal and wiring from the floor and balled it tight into a trembling fist. As if to block out the voices, he thrust that same trembling fist into the floor, creating a shockwave that tremendous enough to resonate across the ESS-1 and command Metal Sonic's attention.

…but so help me, we're gonna finish this thing no matter what!

The next words passed from brain to mouth like a whisper, but with the ferocity and impact of a knife in the dark:

"You really don't know me at all, do ya?"

If he had a fighting chance, he had to make something happen now. Just as Metal Sonic put his entire stock of energy into this finishing blow, Sonic shoved himself in a roll toward his left, holding in a scream as Metal - in a last-ditch effort to hold him back - dug his claw-like toes into Sonic's chest, tearing into exposed flesh.

The gamble paid off. He'd forced the mecha-deity into an undignified pratfall.

With momentum on his side, Sonic rolled into a somersault and bounded back onto his feet. Every step he took widened the ever-growing cracks in the foundation that was his body, but he either didn't know or simply didn't care. The weight was now off his back, and it almost felt like he could leap into the air, swing his arms out, and fly. Sweet, sweet mobility, how he missed it so.

A plasma shot flew across his radar, forcing him into a slide that saved his face from extinction...yet plunged his lower body back into a maelstrom of grinding pain. If that was the price he had to pay for mobility, then so be it.

The world flew by in a blur, or at least this cold, gray prison of a world - man, Eggman really needed to vary the color pallette a bit here - and out of the corner of his eye he managed to catch the doppelganger in his moment of weakness. In the nick of time, he transitioned into a twirling handstand, his legs unfolding and spinning like the blades of a ceiling fan, aiming straight for Metal's head.

"Hey...what the-!"

He struck Metal's left hand instead, which did not flinch, but grabbed hold of Sonic's ankle. A flick of the robot's wrist, and Sonic was cast across the room like dirty laundry.

Hmph...not playing games anymore, Metal? Well, neither am I!

With one flick of his leg, Sonic went from tumbling uncontrollably to tumbling with perfect control, recovering with a short, impromptu breakdance routine and finishing with a devastating kick to Metal Sonic's head.

Too devastating. It actually seemed to connect.

At first, Sonic wondered if he'd missed Metal altogether and actually hit a nearby pipe. But after he got to his feet and noticed the fresh, new shoe scuff he'd added to Metal Sonic's shiny gold paint scheme, it all seemed to come together. The aura surrounding Metal Sonic had dimmed, fading out whenever he did anything more energy-intensive.

Just then, the room was set alight in a red glow so intense it forced Sonic to shield his eyes to look up.

When Sonic finally gathered the strength to gaze into the blinding gleam, he noticed Metal just…standing there, bent over, letting the energy channel into his body. A pair of miniature turbines spun in opposite directions, generating light from pure nothingness and storing it as pure energy, until the mechanism burst into life, ready to unleash it all on the hedgehog. When he noticed that the source was the engine contained in Metal Sonic's chest cavity, he engaged his defenses, expecting another pounding.

But something was off.

He stood perfectly still, both feet planted...never leaving the ground, not floating. That couldn't be right, unless...unless he simply couldn't.

Yes! I knew if I ran him ragged, he'd lose his strength!

"What's the matter, pal?" asked Sonic. "Gettin' tired?"

As if jolted with a cattle prod, Metal jerked his head toward Sonic, who realized that was probably the only answer he would receive. The glow intensified, and along with it came a high-pitched hum.

A very familiar hum.

One engine sputtered, throwing Metal Sonic off balance for just a moment. An auto-gyroscopic correction system boosted power to the other to compensate, and order was restored…until the other engine blew fumes. The problem spread across his body, as his internal processes couldn't figure out whether to stay on or not. Finally, all four rockets expired completely, forcing Metal Sonic to drop.

That laser. Sonic could recognize that whining hum anywhere.

I guess he's tryin' to go out with a bang!

A single sentence played on a continuous loop in Tails' mind – This wasn't supposed to happen.

The halogen spotlights practically seared into his fur. This was a play he'd never rehearsed for, and yet he'd practically been thrust onto the stage to perform to a packed house. And everyone in the packed house was itching to mow him down if he slipped up. They'd left him nothing. An entire battalion of Egg Gunners closed in on all sides – some forming an orderly division on the ground, others lining the catwalks above, a few even scaling the walls to get a good shot at the hapless fox.

The companionship of his radio earpiece was cold and dispassionate, providing no comfort or answers, only non-stop static. Static bombarded his left eardrum for so long that the sensations of dizziness he felt when taking a step were the only reminder he was wearing the stupid thing at all.

It all seemed so simple before. A race against time, and nothing more. Just find the nerve center of the ship, get inside, and raise hell. No questions, just do it. He knew he might run into some resistance along the way, but he hadn't counted on the possibility of this much resistance. There was no telling how much time he'd have to make up…how much time he'd already lost…how much time Sonic had to spare…

His head tilted toward the sky…more specifically, toward the impossibly-high ceiling that covered it. It was the only place that looked to be bot-free…at least he assumed it was. After all, the logic was airtight. Even if a Gunner was somehow stationed up there, how could it see him from so far away, much less keep a steady enough aim to shoot him down?

It wasn't much, but it was better than nothing. With one massive burst of energy to his tails, he took off, with the resulting wake force knocking a few Egg Gunners to the ground.

He curled his body into a corkscrew loop, rolling himself over to get a better look at his position. A veritable city of lights took shape behind him, hundreds of little specks of light forming one by one, like fireflies dancing in the autumn breeze. Well, except for that one little speck of light rising toward him. Rather quickly, in fact. Uncomfortably so. Enough for him to see the bolts of electricity jutting from it.

Crud. Make that��a dozen big specks of light.

Suddenly, Tails knew how his mono-tailed, ground-bound brethren felt during the hunting season. He was all alone, and that made him the perfect target. There was, quite literally nowhere to go but up.

His lungs were fit to blow at any moment, each twist of his tails seeming like it could be the last his system could take, but damn it, he'd just have to outdo his usual best today. If these baddies were packing anything like what Metal Sonic had, he couldn't be a millisecond off. He sliced through the air like a knife through butter, pushing straight upward against gravity with every ounce of energy he had, because if his calculations were accurate—

A balcony railing passed by his field of vision.

Now!

In one massive effort, he flung his tails into reverse and brought them to a gradual stop, curtailing his ascent. With nothing propelling him, he curled into a sudden dive, and not a second too soon. His face scrunched into itself – he couldn't dare look. He could only pray he made the right call. The world around him flashed once…twice.

Then a thunderous smack. Then another, heralding an ear-splitting chorus of metallic clanging above. Tails' heart went up his throat. Was he hit? Was he hit? No…he wasn't.

The sight of the searing, magma-like red stain dripping from the ceiling, still sizzling from the heat of the combined laser blasts, was a stark reminder of what would have become of him had he not been so fortunate. It eventually dawned on him that this was all that remained of a steel beam that once suspended from above.

At the last moment, he revved up his tails again, seamlessly transferring the momentum from his dive into a near-vertical climb, toward the only open space . Great, he thought. You survived that. Now what?

As if in answer, from a shot rang out.

He couldn't see it, couldn't track it, until it was too late. He suddenly fell into a sharp, uncontrollable dive...and as the laser's searing kiss finally started to settle in his tail, he realized why. He'd taken a hit.

He managed to keep his convalescence to a brief yelp before the adrenaline of the moment kicked in. Powered by little more than panic, he reached into his draining reserves for one massive boost from his one remaining tail. Unfortunately, he'd generated more problems than lift. In his compromised state, all he managed to do was send himself careening upside-down, sideways, every direction other than the correct one. If anyone were to ask him how it felt to be trapped inside a juice mixer…yeah, this was probably it.

If this was the Tornado, the alarm would have been blaring already. PULL UP! PULL UP! But by then, it was too late. He'd fallen too far, too fast. He couldn't put in any more power, but maybe if—

Then the floor came out of nowhere and knocked the wind out of him.

Guess not.

Knuckles' face dripped with sweat, flushed by equal parts exertion and rage.

One door. One lousy, infernal steel door stood between him and the closest thing he'd ever have to a child. It sapped his strength, it took his breath, it took every pounding he could give it and practically mocked him.

He practically threw himself back onto his feet, throwing aside some flotsam from the pile of deceased Egg Pawns gathered around his feet. That situation went to hell in a handbasket real fast. At least he learned two things from the experience. 1: Entering the wrong password on the keypad will trigger a sneak attack by specially-placed Egg Pawns and gun emplacements. 2: The password is not "password".

Still, that was all he had in the idea bag until Tails got him through the door.

Where was he, anyway? He really should have called in by now.

Knuckles pulled out his earpiece just to check whether he hadn't accidentally deactivated it. Nope…the light was green. Still on.

He scoffed. "Typical. Of all the times to go radio silent…"

Deep down, he was thankful no one could hear him. He knew that they could've heard straight through the mask he tried to project. The irony was as unavoidable as it was painful. He found himself truly alone for the first time since he boarded the ship. In a way, he'd gotten what he'd wanted.

But at what cost?

Screw it. Being a guardian meant having to make difficult…even borderline illogical choices. It said in the old mantra that Chaos is power…power enriched by the heart. He could recite that mantra from memory, but now was the time to act on it. What the Master Emerald truly needed was an act of selflessness.

It felt wrong to turn away from the Master Emerald's glow when it was so close…separated from him by no more than a thick steel door and a line of encrypted code. But eventually, he wrenched himself away and headed down the corridor.

Hold on, guys, I'm coming!

Then it happened again.

Argh!

Knuckles stumbled, barely regaining himself. Everything went dark in a hurry, and the room spun out of control, becoming little more than a featureless vortex. The faint echoes of machinery and radio static faded out, giving way to the sound of the rustling wind – a vague, nothing sound which signaled that his mind knew to process something, but not exactly what. Both sides of his head throbbed in almost rhythmic fashion, seemingly ready to explode any second.

These pulses…they were worse than ever. The Master Emerald was in pain, and he could feel it. Not only feel it…see it. His eyes were drawn back toward the other side, where a blazing green light shone through the gloom, in tune with the pounding inside Knuckles' skull. Even from behind the thick steel door, the Master Emerald beckoned to its guardian. He tried to take a step, but when took his next one with his leading foot hanging over thin air, he nearly tripped.

This wasn't real. This was only in his head, he'd told himself. He'd been through this very situation time and time again. And yet, he had to ask. What the hell was real anymore?

Ugh…now he could hardly hear himself think.

Real or not…if the concept of pain could be distilled into a single sound, this was it. This…he didn't even know what to call it, this…throbbing in his head that wouldn't go away. It was there one moment, gone the next, then back again, and like clockwork the pattern repeated. Each step was a furious struggle, his better judgement knowing where to turn, but his senses pulling him in different directions. As he edged closer to the gleam, the flux between "searing pain" and "just fine" faded to nothing, and the pounding only intensified, latching onto him, chipping away at his senses like a mad gremlin crawling inside his cranium.

Nope. Not real. Only in his head. Keep moving.

The more he told himself that, the more he was convinced otherwise.

He pulled closer to the noise – if nothing else, to confirm his skepticism. But with each second, it came into focus, and he noted its location on his right. Some kind of impact…could those be gunshots? Punches landing on someone? No…more like metal clanking against metal. Best guess…someone's footsteps. Knuckles got as close as he reasonably could, and tracked the location of the sound. It didn't stay in one place, it was slithering like a snake…tunneling beneath his feet. It had to be on the next floor down.

There it was again. Tap. Tap. Tap.

…Tap.

Yep…those definitely were footsteps. Slow, consistent footsteps. Whoever this was, it didn't sound like they were in any hurry.

That makes one of us…

Sensing Eggman's presence, every light fixture in the room burst into life, bringing into focus the sheer scale of what he had created. The walls were covered in an intricate series of pipes and cables, every single one of them vital to the operation of the ship. They gave off a faint, green glow, normally too faint to have been visible to the naked eye were it not for the ever-present smog giving it something to bounce off. Soon, the majesty of the cosmos would come streaming through the panoramic viewscreen...though for now, he'd have to settle for a view of the sea and the occasional shipping vessel that passed by.

Strange. Somehow this space seemed almost too expansive to fit on a ship this size...and yet still too cramped. Perhaps the tubes were the culprit. They had arrived just last week, after all, and this was the only safe place on the ship where he could store row upon row of cryogenic-stasis tubes.

Speaking of which...

Dr. Eggman paused and turned toward the lines of tubes. There was one more thing he needed to check on.

"Hello? Sonny boy?" he said. "Daddy's home!"

He walked over the capsule marked with the Roman numeral 'I', the only one in operation. Yet more tubes jutted out the sides of each, meant to hyper-accelerate growth by supplying oxygen and water at high enough doses at the proper times. For all his studies and labors, this was his reward.

A shriveled mass of a lifeform grew inside, flaccid tentacles jutting out of the bulbous mass of a body trying desperately to form limbs, its color as pale as cigarette ashes. Eggman's head slumped to his chin, unimpressed with the results. It was just as he'd left it that morning...and the morning before that, and the night after that. He'd hoped he would see some positive growth after a hectic day apart from its master. But one look dashed those hopes.

He tapped on the tube vigorously, waiting for something, anything. Nothing changed...not even so much as a ripple in the standing water.

From a nearby table, he picked up a pen and clipboard and set about marking off all of the project targets that he hadn't come within a country mile of reaching. As he made his way through the list, marking off failure after failure, his nerves frayed.

Grandfather never had it this rough...

"Sir?" asked a muffled voice from afar. Dr. Eggman turned to find his trusty Egg Flapper occupying the space where he'd directed him to go, the glass tube at the very heart of the room. "Shall we begin the experiment?"

Oh! Of course! The...um..."experiment".

In one smooth motion, he tore the sheet off the clipboard, crumpled it, and threw it toward the closest trash can. Turning away, not even taking care to note that his impromptu sky-hook had undershot the basket by twenty feet, he entered the radiation-proof observation chamber. By the time he settled into his seat, he had already lapsed into another episode of "Dr. Eggman's Thinking Out Loud".

"Bah! No matter! After I'm through with the hedgehog and his friend, I'll have all the time in the world to perfect the procedure!"

"Sir, may I politely remind you that Project Beacon is still in an untested state?" asked Flapper.

"Hmm? Oh…yes," muttered Eggman, as he tapped on a touchscreen, cycling through a rather rudimentary menu. Sprawling bulleted lists of flora and fauna from all over the planet were, for the moment, rendered in little more than a white background and the default system font. He was planning to mold it into a sleek and shiny interface worthy of the Eggman name, but Sonic and his annoying friends just had to butt in and ruin his schedule.

If there was going to be a guinea pig for this test, Flapper was the ideal candidate. One of the few remaining holdovers from the Legacy Series, which all drew power from an "organic battery", it was effectively rendered obsolete for battle duty once Dr. Eggman had found a self-sustaining power source. In one stroke, this opened the possibilities for larger and more destructive Badniks...although Sonic and Tails' little jaunt through the middle decks of his ship should have indicated how successful he was on that front.

But Dr. Eggman kept many of the Legacy Series mechs around – or at least the few that hadn't been felled by the hedgehog's foot. Perhaps it was out of a perverse sense of loyalty. Maybe it was his sick version of 'survival of the fittest'. Either way, he bided his time, waiting for the right moment to use them in the field once again. That time had finally come.

"Ah!" He'd finally reached the right selection in the menu.

Theoretically, there was a checklist with scores of other safety procedures both before and after this part, but they'd all become unreadable by this point, obscured by months worth of coffee stains. Throwing caution to the wind, he flipped open a glass box and pressed the silver button encased inside.

The moment his finger pushed down, all electric light in the room dimmed, sprang back into life for a nanosecond, then went out altogether.

Flapper turned upward to watch the spectacle of light above it. Tiny, green bolts of lightning crackled from an orb at the center of the tube, intermittently at first, but becoming more and more frequent...even persistent. As more energy fired through the tube, the bolts connected with each other, forming a consistent pattern which settled in the miniature vaccuum-chamber at the top. The energy only intensified, and chaos collided with chaos to create more chaos. With nowhere else to go, it grew into an unstable vortex looking for an outlet.

This was an inconvenient time for Flapper to notice that the outlet was pointed directly at it.

"Sir?" Flapper asked. "Requesting information on the nature of this experimen-"

Eggman didn't even wait for his loyal servant to finish before pressing the button a second time. The time for questions had long since passed. Had Eggman given Flapper X-ray vision, perhaps it would have been able to see what Eggman saw on his touchscreen.

The target species he'd selected: FLICKY - Flapper's container animal.

Then again, there wasn't anything Flapper could have done about it.

One blast of Chaos Energy from the top of the tube phased through its skin, tearing through every atom of its being. One second passed. There was no movement, no signs of resistance. Two seconds.

The weapon depowered, and one by one, lights returned to the room to revealing Flapper unmoving at the bottom of the tube, reduced to little more than a non-functioning shell - a shell which the Chaos energy had left almost as pristine and new as the moment it left the factory.

But only a shell, with no power. And no power source.

The word, stuck to the tip of the doctor's tongue, fell out with a soft, almost awed whisper.

"Success."

"AAARGH!"

Knuckles fell to his knees. Never before, not during any of the crises he'd dealt with before, had Chaos cried out to him like this.

#Supernova #guess i kinda missed that six month target from last year #sonic fanfic #sonic fanfiction #sonic the hedgehog

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fluidsf · 5 years

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Fluid Label Focus on CRÓNICA 012 Various Artists: LOUD LISTENING (2012) Reviewed format: Digital compilation on CRÓNICA It's an exciting time, we're only a month into 2019 and I've already received quite a lot of great releases that I've reviewed recently. Now it's also time to introduce new series on this blog as well as continue with the first 2019 selection of music on Fluid Sonic Fluctuations (with my updated semi-random selection system). This is the next part of my Fluid Label Focus series on CRÓNICA, LOUD LISTENING, released in 2012, a great compilation of experimental music and sound art based on recordings from industrial facilities in Italy by 4 Italian sound artists (Alessio Ballerini, Enrico Coniglio, Giuseppe Cordano and Attilio Novellino). I selected this album yesterday. Over 14 tracks, totalling 1h59m12s the artists take you on a sonic journey of "loud listening" through the 4 original Industrial field recordings as the first 4 tracks which are followed by 10 pieces based on those sounds by 9 artists. The Digital download of this compilation comes with the 14 tracks in 16-bit/44.1kHz CD quality audio, the compilation cover in good resolution as well as a PDF file with a description of the release, tracklist, credits and links. LOUD LISTENING as a compilation is a rather well flowing celebration of both the rough and resonant sounds from Industrial machinery and the people working there as well as a kind of appreciation of the hard work done by these people in these facilities translated into sound and music. On the first track Acciaierie di Rubiera by Giuseppe Cordano you can hear the sounds from the furnace with the same name. The sounds on this recording are in an audibly very big space with a very long natural reverb and the sounds of the machinery are often filtered through the resonance and reflections of the steel in the facility. The recording moves from distant machinery noises and clangs to closer whirring, swishing and hissing noises. The whole recording's got a great "dark" ambience to it and the huge space comes across very well, allowing you to immersive yourself in the details of all the sounds in here. Then we have Grandi Molini Italiani by Enrico Coniglio which is a recording of a wheat production mill. This location has much more high frequency sounds and swishing sounds as well as audible talking from people working there. There's more dronelike machinery sounds in here and the whole has a lighter sonic ambience although some elements border on subtle Noise style sonics. Afterwards we have Calme Cementi by Attilio Novellino, which is a recording of a cement factory, much more Noise sonics in here and harsher more piercing machinery sounds combined with swishing. The high frequency fluctuations are really nice and while the full recording sounds like a continuous process the changes in the general sound happen fairly quickly. All these industrial recordings are all quite entrancing actually. Then we have Port by Alessio Ballerini which is a recording of many industrial sounds from a boatyard. Again, quite a lot of high frequency whirring, swishing, piercing machinery sounds and distant clangs. The cool thing about this recording is the phase shifting that happens from some of the work done to the materials that are worked with in the boatyard which causes a kind of natural flanger effect that sounds pretty "fresh" and pleasant in a strange way. Then, on Before One, Gintas K kicks off the reinterpretations of the field recordings with a kind of "cubist" subtly glitched up version of the recordings. Indeed, the piece doesn't really sound like Gintas K aimed to create "melodies" or rhythms out of the recordings but rather, build a new fictional Industrial facility out of all these recordings and this happens more often on this compilation. Rather than fully twisting the source material towards a recognizably musical piece, many artists on LOUD LISTENING build and manipulate the recordings into new non-existing Industial facilities through sound, though with many differences in sonic progression from the original ones and more abstracted machinery. Gintas K approaches it with a focus on the swishing and whirring sounds, massively phasing them up and twisting the sounds into waterfalls of Industrial processes and deconstruction of these same processes towards the end. A thrilling abstract reimagination of the Industrial facilities. On Calme Mathias Delplanque uses the recordings to create a subtle but gorgeously progressing Drone piece created using the fluctuating tones from the machinery, tuning them with eachother, creating a subtle diffuse hazy stream of sound and simple chords that progress slowly overtime. It's like a kind of zen meditation sonic description of factory work, full focus on the task and clear your mind. On Billowing Blackening Bliss, Our Love Will Destroy The World turns the Industrial sounds into fuzzy drone infused Noise but with quite an ambient type of resonance in it too. The piece is a bit harsh but still hypnotizing and relaxing too in a way, making the facility sound like its machines are constanly shattering while in use but never fully breaking down with details of the machinery in action subtly moving through the fuzzy resonance. Great sound. On Piercing Clouds With Laserguns, Pure has created some of his nicest glitching and Noise work with a great composition full of mangled up and harsh manipulations of the source material into bursts, repeating patterns and short bits. The sometimes extreme dynamics created by the silences in the piece also add a great tension and unpredictable element to the music. In this case the piece perhaps doesn't feel as much as a fictional industrial facility but rather like alien futuristic sterile digital sci-fi processes, in between mechical and digital data processing, a hybrid factory. The glitch and noise sounds will definitely be an exciting listen for fans of this kind of music (like me) but the composition also offers more than just sound design fun. Then on Tetramiss, Japanese artist Yu Miyashita turns the machinery recordings into dense film soundtrack like layers of glitchy high-tech percussion and deep catchy melody. It follows quite well after Pure's glitch piece but in here the music progresses into more recognizably musical territory. The production has a very detailed and pleasantly polished Japanese aesthetic to it as is common with more Japanese artists but also not falling into sound design indulgement so again the music is also as captivating as it is refined sonically. The piece is quite compressed however, though this does match with the Noise edge of the music, great track. On One, Gintas K gives us a second track of music / sound art based on the recordings. This one is quite an intense track on a more extreme level in terms of listening experience. Gintas K uses a rising scale (that utilizes elements of the shepard's tone infinitely rising psychoacoustic effect), pitching up pretty harsh resonant machinery sounds in steps for the first half which creates an effect that feels like a siren blasting at you and might be a bit off putting for listeners who don't like Noise at all, there's not much calm ambience in this piece, this is some piercing burning sound but for people willing to take this extreme experience it's a great listen. In the second half Gintas K reduces the machinery to low pitched fuzzy buzzing, very slowly fading out the piece to silence. An extreme but also rewarding piece of raw sonic mayhem that does also feature quite a lot of details even through the screeching machinery siren sound. On Novantuno (per Enrico) @c reconstructs an industrial facilities by blending, amplifying and also quite heavily compressing the sounds reveailing many small details, ticks and resonances resulting in a pretty loud droning piece that's both hypnotic but also seems to have creatures in it willing to communicate with us through the manipulated high pitched machinery sounds. Like the @c album I reviewed in 2018 the piece has a continous sound to it that can be revisisted many times, filled with details and moving elements in what is more like a situation or event of sound rather than a piece that follows a predictable and recognizable structure and it also ends rather abruptly too. A great soundscape like piece. Then on A Ballad For The Machine, Lawrence English goes for a suitably more subtle approach in deconstructing, perhaps even letting the sounds crumble and evaporate, creating clouds of machinery sounds feeling like metallic wind in the night after work has ended. The piece does feature some abrupt "clean" sounding bits of the recording which causes some extreme dynamics but it does add some nice contrast in the piece indeed. Mysterious sonic art. On Fabricaria Simon Whetham uses a lot of low and sub bass frequencies to create intensely rumbling, rhythmic and mysterious sonics derived from the recordings. The piece is very subtle in the mid and high frequencies with the sounds being extracted into very little and short high pitched glimmering clouds of glistening "magical" sound. It's like distilling the deepest, most pleasant thoughts from the factory works and using the machinery to translate them into sounds. It's quite a lengthy piece, but let your mind flow into the deep ambience and has quite a unique effect, great piece. On final track Dopolavoro the group TU M' (not active anymore nowadays unfortunately) distills the machinery sounds into even more atmospheric droning clouds of sound. It's probably the most accessible piece on the compilation with its mellow and vibrant deep ambient sound but the subtle progression and details make it a captivating gorgeous and positive ending piece to a compilation that first started with quite some dark sounds, great ending. LOUD LISTENING is an intriguing, varied and highly imaginative compilation of industrial sonics derived sound art and experimental music in which the artists seem to construct new fictional industrial facilities or translate the worker's minds into sound and music through manipulation and sometimes subtle, sometimes unpredictable compositions. It's a great listen for anyone looking for Industrial work themed music and sound art as well as fans of Noise and related genres featuring (extreme) sonics looking for a more "real life" based soundscape approach to extreme music and sound art. Recommended compilation. Digital compilation is available from the CRÓNICA Bandcamp page here: https://cronica.bandcamp.com/album/loud-listening

#digital download #independent music #Crónica #underground music #2012 #field recordings #glitch #noise #sound art #compilation #various artists #loud listening #Fluid Label Focus #experimental music

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beevean · 6 years

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I’ve always liked to describe music and rate it, so I thought to put here my top 30 Sonic Forces tracks, and maybe in the future I’ll do the same for other games.

Under the cut because it’s a top 30, so it’s pretty long :V I couldn’t do less, I’m sorry!

@bookvideogamemaniac @ramenbomber @dizzydennis

30) Eggman Empire Fortress: Iron Fortress

This is what happens when you mix the intensity of Scrap Brain and the dissonance of Death Egg. It’s suitably dramatic, and the harsh Genesis-esque sounds help the sense of being surrounded by cold, deadly metal. It feels very heavy for some reason. *insert joke about Classic’s physics*

29) Green Hill: Arsenal Pyramid - Interior

More Eggman bases should have a dance theme. This track manages to fit the sterile, technological environment, the context of a base infiltration and, while it does remind a bit of White Acropolis, manages also to be unique in the OST.

28) Green Hill: Arsenal Pyramid

While I’m happy there are some guitars, here they were really needed as the main instrument, as the saw wave not only doesn’t fit with the general Green Hill environment, but makes the whole track sound really similar to Sunset Heights. What stands out, at least, is how serious it is, especially the climax. It wouldn’t be out of place in a final level.

I also really like the piano at the beginning. It’s a nice touch.

27) Mystic Jungle: Casino Forest

I had no idea this one was composed by Tomoya Ohtani! I was so sure it was Naofumi Hataya, it just screams “Genesis-era”! The whole track fits perfectly the setting of a deranged casino area - somewhat spooky, but still with that bouncy feeling of many casino themes. (wish the level itself complemented the pinball gimmick with the forest background...)

Also when it was first revealed the official Sonic account pointed out the amazing bass, so... listen to that amazing bass. Very reminiscent of Casino Night’s, but more energetic.

26) Mystic Jungle: Luminous Forest

Unfitting with the stage? Yes. Didn’t need the saw wave at all? Absolutely. Catchy? Also absolutely. It helps that here the wave is accompanied by some very nice guitars reminiscent of the Adventure series - this whole soundtrack needs more of them, so any track with rocking guitars gains instant points from me. The funky bass solo near the end of the loop is just the cherry on top. An energetic old-school tune all around, it could’ve been much higher on the list if it didn’t suffer from Sonic Adventure 2 syndrome and wasn’t so unfitting for the level.

I once compared it to a Bad Future version of Savannah Citadel Day, and it was nice to see I wasn’t the only one thinking that!

25) Metropolis: Metropolitan Highway

This song is so happy! I still call it “Skyscraper Scamper Day Good Future”, and with good reason. It wouldn’t be out of places in a Riders game!

I don’t know what else to say. It just puts a smile on my face every time I listen to it. It’s very Sonic-y, that’s the best way to put it.

24) Boss: Infinite (Showdown)

As I pointed out a while ago, this one was composed not by Ohtani, but by Yutaka Minobe, a far less famous composer and pianist who’s largely responsible for a good chunk of the first two Advance games’ OSTs and miscellaneous tracks like Black Doom. From the tracks I’ve linked it’s easy to recognize his style in this orchestral piece that barely resembles the original theme anymore, unless you pay attention to it.

I’m disappointed in how little dubstep there’s here, but while the track doesn’t have a clear melody (aside for those short sections that call back Infinite’s theme, and to be fair they are really good reprises), it compensates by being highly atmospheric and making the final showdown with Infinite feel far more epic than it actually was.

Maybe there’s not much dubstep to symbolize how Infinite is going to lose control of the Ruby? Just speculating.

23) Boss: Infinite (First Bout & Second Bout)

Infinite’s boss remix is a wonderful mess of metal, dubstep and... a genre that I’ve seen multiple times being compared to k-pop, for some reason. It may take a while to grow on you, but it’s catchy from the get-go. Who could’ve thought this style would fit our new favorite edgelord so well?

I put these together because there are mininal differences within each other. However I slightly prefer the second version, it’s more danceable and not as repetitive as the first one.

22) Mystic Jungle: Aqua Road (Moonlight Battlefield)

While I admit this one dropped down a lot since it was first revealed (my only problem is that it’s pretty repetitive), it’s still pretty good, and it continues the sweet tradition of having a piano for the aquatic stage (if you want to call the slides gimmick “aquatic”).

I like how the echoing piano feels very light and how at the same time it’s contrasted by the strong synth bass and the electronic drums. The singer’s voice just makes everything prettier. A lovely theme with melancholic lyrics.

21) Mystic Jungle: Eggman's Facility

I’m not a fan of Sonic Adventure 2′s soundtrack, but I can at least appreciate White Jungle for standing out among the endless buttrock and for fitting both the stage and Shadow’s emotional state at that point. DnB really suits him.

This remix emphasises pretty much everything that made the original good, making both the lyrics and the guitars clearer. It’s pretty much a modernized remastered version, and it seems it was composed precisely for Shadow infiltrating Eggman’s base in Mystic Jungle. They choose the right track.

20) City: Enemy Territory

I have a mixed relationship with ShTH, and the same goes for its soundtrack: I hate half of the OST and love the other one, no in-between. In the half I love there’s the Westopolis theme - I don’t care if you’re forced to hear it 10 times in one of the dullest level in the game, the track itself is pretty badass, and yes, nostalgic for me.

So you can imagine how much I squeed when I realized they remixed it for the Shadow DLC.

I especially like how they made the main melody clearer and not as drowned under the edgy noises, while still keeping the overly-badass mood of the original. It even fits the aesthetic of Sunset Heights! And it even includes a Radical Highway cameo for free, because why not.

The PC version (beta version?) is not so bad either! It’s just more subdued.

19) Chemical Plant: Space Port (Fighting Onward)

A perfect introduction to the Avatar music style. The cold synths couples with the steady rhythm makes me imagine the Avatar walking in the middle of a blizzard, and the bass gives that touch of determination.

18) City: Red Gate Bridge

Very tranquil and somber, with a “calm before the storm” vibe to it. The piano and the strings go very well with the saw wave and the synth bass. Not easily hummable but memorable nonetheless.

A shame the main stage wastes it, but at least this one plays during those mini acts... other tracks aren’t so lucky.

17) Metropolis: Capital City (Virtual Enemies)

We will defeat insanity~

There’s something about the chords and the overly distorted voice that really fit both the futuristic, shiny, and sterile look of the city and the unsettling context of being mindraped by Infinite. It’s also pretty fun to sing out loud! Another track that could’ve come out from a Riders game, albeit more downbeat than others.

16) City: Park Avenue (Justice)

How can a track from June 2017 feel already nostalgic? This was the first music theme officially revealed, and what an impression it made. Like many, many other tracks in this soundtrack, it took me a while to fully appreciate it, but now it’s pretty much a classic in my book. Here the synths used truly shine - the chords at the beginning immediately set the mood and both solos convey the Avatar’s strenght and determination. Energetic and catchy, with cheesy (in a good way!) lyrics, it might as well be the symbol of the Avatar music style.

15) City: Sunset Heights

Another track that by now feels familiar. I just never get tired of this one, I could listen to it in a loop for twenty minutes straight. It reminds at the same time of Sonic Runners and Sonic Heroes, if not ShTH, almost a much more lighthearted version of Westopolis - fitting, all things considered - or Final Haunt. While the saw wave here goes very well, it’s the clean guitar that makes it for me, it gives the composition a nostalgic feeling. This is pretty much the very first theme that comes to my mind when I think of Forces.

14) Metropolis: Null Space

Poor track. You deserved so much better than what you got.

Even without knowing the context, you can perfectly picture in your head a vast, empty, dark, otherwordly place, and the eerie reverberating piano, the ethereal choir, and the subtle glitching noises are sure to send shivers down your spine. It being a dark reprise of the piano bridge of Fist Bump doesn’t help.

(side note: this was co-composed by the aforementioned Yutaka Minobe. I’m sure he’s also the one who plays it)

13) Green Hill: Virtual Reality

Who doesn’t love Supporting Me? It’s a fan favorite for obvious reasons. It’s been remixed in Generations 3DS, and once again in Forces, and each version is better than the last. This version is much less somber, with the added guitars, the synths replacing the strings, and the more frantic drums, and the whole remix feels like it mixes both genres that represented Shadow in Adventure 2 - heavy rock and DnB.

This is also the only track in the Shadow DLC that features dubstep to represent Infinite’s influence, which I think is a nice touch. The only downside is that the chorus isn’t a dark reprise of Live and Learn anymore.

At first I found it very odd that this plays in the bright Green Hill, but the soundtrack dissonance helps the feeling of creepiness and uncanniness Infinite was aiming at in the story. The lyrics also talk about illusions, so...

The PC version lacks most of the guitars, but that means you can enjoy the synths more, especially in the chorus. I almost prefer this version for this reason.

12) Fist Bump - Piano Ver.

Hey, remember when Aaron trolled us all by implying Tails was gonna die? :D

But even if this melancholy rendition of the main theme plays just in the theater option, it’s still lovely, the kind of piece you’d listen to in a rainy day with a mug of hot chocolate in hand. You can almost hear the gentleness of the player’s fingers.

11) Fist Bump

Speaking of the main theme!

This song just screams “early-2000s”, and it’s food for all the Adventure children inside of us. It’s corny and proud of it. It will never ever leave you head. It’s pure adrenaline in musical form. It has a piano bridge and a sweet guitar solo. You can’t ask for more from a Sonic song.

Shout out also to the Invincibility theme, a catchy 16-bit rendition of the chorus! And of course, the very first piece of music revealed, the instrumental version that goes well with everything.

10) This Is Who You Are

They didn’t need to go so hard for something as simple as the character customization theme. But they did. And I’m so glad.

There’s a certain cleverness into mixing a boppy square wave to the simple orchestral background, as not only the Avatar is mainly associated with synths but it also somewhat alleviates the serious mood, which is perfect for our rookie. The fluttering piano is gorgeous, and I have to mention that swelling climax. You really feel like you’re building up a hero from scratch.

9) This Is Our World (Eggman, War, Resistance)

What a cool title for a world map.

I put them all together because they’re very similar to each other, but the three different versions are great at setting up different moods with little tweaks. The first version has steady, powerful drums that remind of Eggman’s machinery and factories, but the overall tone is of a great war incoming. The second one cranks up the intensity and the mechanical noises, fitting for the definitive showdown between the Eggman Empire and the Resistance. And the final one is pure triumph and peace.

8) Eggman Empire Fortress: Final Judgement

... or is it Last Judgement? The OST isn’t quite clear. But in any case, this track is both intense and energetic, fitting for the very last stage, and somewhat melancholic. Amy does feel sorry for Infinite for being allegedly created here, but without context it actually makes me think of an imminent heroic sacrifice necessary to save the world. It definitely spells out “last stand”.

7) Boss: Zavok (Battle with Death Queen)

I’ll never understand why they named the track after the robotic wasp. Anyway, Zavok’s theme in Sonic Lost World wasn’t anything special, a menacing orchestral remix of the Deadly Six leitmotif (although it barely sounds like it). But the Zavok replica gets a sick dubstep strings remix! Twice as fast, with the intense violins getting drowned by the arhythmic, glitchy dubstep noises, it does a perfect job to pump you blood. To fight... the Death Queen, apparently. (rip zavok nobody loves him)

(I also have to point out that this is one of the only two major tracks Kenichi Tokoi had an hand in, the other being the Metal Sonic boss theme. I wish he did much more because boy he was on fire!)

6) Death Egg: Egg Gate

I learned to play this on my keyboard purely because I love it so much! It’s so badass! It could fit with Flash In The Dark or other Wily themes! Too bad it’s so short, but I feel it’s more complex than others, so it compensates. Not gonna lie, this theme coupled with the gorgeous background of the base in space made my jaw drop like few things in the series yet.

While here the saw wave actually fits, I would’ve died of happiness if it was played on an electric guitar. Bring me all the rock covers <3

5) Eggman Empire Fortress: Mortar Canyon

I can already tell this will be the most underrated track in the OST. It’s a shame it plays in the shortest level in the game, because it ends just as the music gets to the truly awesome part - and I don’t mean “awesome” in its more common sense, I truly mean “awe-inspiring”.

It starts out with the saw wave (which here would’ve also fit nicely), but slowly it fades in the background, the lead being replaced by a piano, then a choir, then strings, to create something that feels bigger than Sonic and the player. There’s a sense of despair, with only the slightest twinge of quiet, detemined hope. You’re so close to save the world from total destruction.

Chilling. One of the best “final level” themes in the series. Take the time to listen to it with headphones to enjoy all the tiny details, you won’t regret it.

4) Infinite

And after the remixes we get to the original version. This is, by far, my favorite character theme of the series, if only because it fits Infinite so well.

It manages to be ironically edgy, both with the overuse of HEAVY METAL RUMBLING GUITARS and lyrics such as I AM THE SHARPEST OF BLADES I’LL CUT YOU DOWN IN A SECOND... and yet it’s also unironically cool, especially if you grew up with this kind of music. The lyrics were also incredibly fun to analyze, even though at the end of it the meaning was just “I’m the best and y’all suck”, which perfectly reflects Infinite trying to appear more powerful and menacing than he actually was.

Also, like I already mentioned, metal and dubstep go so well together.

When everything you know has come and gone... only scars remain through it all...

3) Boss: Mega Death Egg Robot Phase 2

Pure despair. You really feel like you’re facing something much bigger and more powerful than you are. It only needs a choir, some strings and a flute to achieve all of this - its semplicity it’s what makes it so effective.

It also seems it takes some inspiration from Egg Nega Wisp Phase 1, which I can be only happy about.

2) Boss: Mega Death Egg Robot Phase 3

Let’s get that one flaw out of the way: the loop is too short. But everything in the loop is spectacular.

It’s in the same style as Dr. Eggman Showdown, and while it’s not quite at the same level, it is pretty close, and I do prefer this guitar solo.

What truly makes this track great, however, is the buildup. It starts with a light, high choir that feels hopeless... then the drums kick in... then the guitars... and finally it explodes in a wonderful, triumpant mix of orchestra and rock. Eggman is on his last rope, you’ve already won. And when you defeat the final boss, it ends abruptly with the same choir of the beginning, in a satisfying book end.

And don’t miss that Fist Bump riff! I know some people would’ve preferred a full remix of the main theme, but I actually like this approach.

1) The Light of Hope

All that I see now, it’s not the same...

All you remember, has gone away...

But you’re still standing here...

The first stanza alone made me tear up, and I didn’t stop until the end. What a gorgeous song.

This song alone made me feel proud and accomplished... after watching a stream and being severely disappointed in what I had seen in the last hour. This one song almost fixed everything. And the new title screen, with the instrumental version in the background and the flower in the shining Resistance quarters... touching. It reminds me so much of Wiosna from Katawa Shoujo, a track I hold dear.

Kudos to Amy Hannam and her lovely voice - this song is much harder than it sounds, and she nailes every single note.

#sonic the hedgehog #sonic music #sonic the hedgehog music #sonic forces

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offbeatmusicuk · 4 years

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Albums Of 2019

Here we go again. Another pretty strong year. Full disclosure I haven’t had as much time to listen to these albums this year as usual so my mind may be changed (possibly immediately) but here’s my list as it stands at the mo.

Before that though... an honourable mention of an album which I decided wasn’t eligible for the list because technically it’s a soundtrack album, even though it sounds like a new album from the band, and a strong addition to their discography....

Biffy Clyro “Balance, Not Symmetry”

And now the bonus 30 albums that didn’t quite make the top 50 but couldn’t go unmentioned.

Lindsay Schoolcraft / Sigrid / Talla 2XLC / Ladytron / The Anix / While She Sleeps / Calva Louise / HANA / Ivy Crown / Lacuna Coil / Hante. / Puppy / Stanton Warriors / Moonlight Haze / Perfect Son

Idiot Pilot / Port Noir / Above & Beyond / Eat Your Heart Out / Potty Mouth / Lupa J / Papa Roach / Starkill / IAMWARFACE / The Anix / MC Lars & Mega Ran / Snow Ghosts / J Majik / Estiva / GIRLI

And now the big five-oh

50.

Dinosaur Pile-Up “Celebrity Mansions”

Dinosaur Pile-Up have been gaining praise for their 4th album, and it’s not hard to see why. Spikey, catchy rock and punk, about touring the USA, some sounding like Foo Fighters’ heavier moments. Fun stuff.

49. Foals “Everything Not Saved Will Be Lost Part 1″

The experimental indie band released 2 albums in 2019, both parts of the same project, and though Part 2 certainly has merit, and a few cracking tracks, Part 1 is the more consistent, full of varied and surprising music.

48. Forever Still “Breathe In Colours”

The Danish hard rockers fronted by Maja Shining, deliver their 2nd album of aggressive, melodic rock and alternative metal.

https://foreverstill.bandcamp.com/album/breathe-in-colours

47. Cold Kingdom “Into The Black Sky”

Debut album from the Minneapolis hard rockers, their first release with new singer Elissa Pearson.

https://coldkingdom.bandcamp.com/album/into-the-black-sky

46. Hatchie “Keepsake”

Aussie Hatchie brings us her debut album of shoegaze-y, shimmery, dreamy, electronic indie-pop. One to float away with.

https://hatchie.bandcamp.com/album/keepsake

45. UNKLE “The Road Part II / Lost Highway”

A serious case of double album syndrome with this one. Disc 1, aside from a weak cover of a terrible song as its last track, is absolutely amazing, and if it was released like that it would be top 10 for sure. But the whole thing has to be considered and disc 2, though far from bad, is just a bit dull, especially comparatively.

44. Doll Skin “Love Is Dead And We Killed Her”

The ladies from Phoenix are back with their new album, once again a great collection of catchy, upbeat, alternative rock and punk.

43.

Only Shadows “Brothers”

Epic, catchy indie rock. They are very American sounding but they come from Nuneaton. Good stuff though.

42. Driftmoon “Remember The Night”

Though it is a live recording of a DJ set, Driftmoon insists that this is his third artist album. Fair enough - it is all his music, though there are many collabs and his remix of John O’Callaghan & Audrey Gallagher’s classic “Big Sky”, but aside from an instrumental version of a track that featured on his last album “Invictus” it’s all previously unreleased. He wanted to switch it up and make the ‘live performance’ the first way these tracks were heard. And like many a DJ set, more often than an album, the biggest and best tracks are in the last third of the album, and there are some mammoth tunes here.

41.

The High Priest “Dream American”

Formerly of excellent bands Diphonia, Global Police Force and Dark Science, The High Priest continues his solo journey with his new album. And it’s a good ‘un. His website describes it best - “Dark brooding sonic rock music and atmospheric soundscapes”. Class.

40. Feeder “Tallulah”

Feeder’s tenth album continues their run of quality records. It’s no wild departure, but you’ll like it if you’re a fan. “Fear Of Flying” stands up against many of their classic tunes.

39. Furious Monkey House “Love, Scum & Dust”

Spanish indie-rock young-uns Furious Monkey House release their 2nd album. And it’s an excellent collection of catchy upbeat tunes, mostly in English but with some native Spanish in there too. Great stuff.

38. Nemesea “White Flag”

5th album from the Dutch band. They’ve moved through symphonic metal and gothic rock in their career, and this album includes a handful of the best songs they’ve ever done.

https://nemesea.bandcamp.com/album/white-flag

37. Fever 333 “Strength In Numb333rs”

Agressive rap-metal, with massive riffs and huge melodic choruses. Touches of electronics and Trap are dotted throughout. Sounds like the middle ground between Rage Against The Machine and early Linkin Park.

36.

The Dark Element “Songs The Night Sings”

Former Nightwish vocalist Anette Olzon and her Dark Element partner Jani Liimatainen deliver their second album, and it’s another quality, catchy collection of symphonic metal tunes.

35. New Years Day “Unbreakable”

Huge, jittery riffage, paired with pop style songwriting and melodies, with powerful vocals. Reminiscent of “Blood” era In This Moment, but less sleazy.

34. Blood Red Shoes “Get Tragic”

Blood Red Shoes bring a new sound with their 5th album. More electronic, almost synth-pop, but still with a rock band at the core. Some of their most original and catchy tunes yet are included here.

33. Maraton “Meta”

The Bandcamp page describes this album perfectly - “MARATON pushes the boundaries between pop music and progressive rock, mixing machine like drums and roaring bass groundwork with shimmering guitars, ethereal keys and sacral vocal performance. The band has sought to create a style of music which combines the rhythmic heaviness from bands such as Mars Volta with the pop aesthetics of Muse.” Check them out.

https://maratonofnorway.bandcamp.com/releases

32. Ankor “White Dragon”

Accessible metal with a prog sensibility, the melodies are catchy, but musically it will keep you guessing throughout.

31.

Liquid “Spacemonkey”

Old school hardcore rave stylings from scene legend Liquid on his 3rd artist album. A breakbeat bounty.

30. As December Falls “As December Falls”

Straight to the point, catchy pop-punk from this Nottingham four-piece on their debut album. Fans of early Paramore, early Tonight Alive or We Are The In Crowd etc would do well to check this lot out.

29. Blink-182 “Nine”

2016′s “California”, the first album to feature Alkaline Trio’s Matt Skiba replacing original member Tom DeLonge, was a huge return to form for the band, and “Nine” continues the revitalised Blink with another massive collection of pop-punk tunes. They broaden their sound palette here too with sampled drum loops and heavier riffs in places.

28. Rebecca Lou “Bleed”

There’s a shoegaze-esque vibe to the production on this collection of raw, catchy, rock ‘n’ roll tunes from Denmark, and it gives just the edge of uniqueness that makes this album special.

https://rebeccalou.bandcamp.com/album/bleed

27. Sleep Token “Sundowning”

On paper Sleep Token, a mysterious, masked unit of unnamed musicians, who worship an ancient deity called “Sleep”, would make you think they made incredibly sinister black or doom metal. But that isn’t the case. There is a metal heaviness and some mountainous riffs, but only in parts - often kicking in as songs build to their climax. For the most part though they are bewitching soundscapes, often minimal, with huge melodic vocals, and electronic touches. Worship.

26. Within Temptation “Resist”

Less orchestras, more electronic touches and more influence from other styles of modern music, but still unmistakably a Within Temptation album, “Resist” brings the band back from the brink after some serious writers’ block almost ended them. Bombastic and revitalised.

25. Solarstone “...--”

The final part of Solarstone’s “One” album trilogy is once again an epic journey through his ‘pure trance’ sound.

24. We Are The Catalyst “Ephemeral”

Third album from the alternative-metal Swedes, full of huge choruses. Fans of accessible metal with melodic female vocals should check this out.

https://watcofficial.bandcamp.com/album/ephemeral

23. Lamb “The Secret Of Letting Go”

Five years on from their last, Lamb unleash their 7th album. Ethereal, magical, and special, as they do so well.

22. Polynation “Igneous”

A cinematic, sweeping, atmospheric album, blending many facets of dance music, ambient, techno, IDM. A wordless, groove laden, goosebump inducing journey.

21. Grum “Deep State”

Grum’s much delayed second album finally lands on Anjunabeats. It’s a kinetic mix of sounds incorporating trance, progressive and deep house elements, and creates some huge anthems. In particular the incredible “Stay”.

20. False Advertising “Brainfreeze”

Mancunian grunge / noise-pop trio deliver a fizzing album of 90s influenced rock. Cracking, energetic tunes throughout.

https://falseadvertising.bandcamp.com/album/brainfreeze

19. Cold Blue “Winter”

Slowly but surely building his status and honing his craft over the last decade or so, and in recent years gaining a reputation as one of the best producers in the trance scene, German Tobias Schuh finally unleashes his debut album. It is an epic, progressive journey through uplifting trance, slowly building and revealing its treasures, avoiding being too formulaic and predictable. One to get lost in.

18. R+ “The Last Summer”

Rollo returns, with a little help from his sister Dido, and long time production partner and Faithless teammate Sister Bliss, giving us a blissful, Balearic sounding album. The whole thing sounds like a love letter to Ibiza. Lovely.

17. Pumarosa “Devastation”

Pumarosa deliver their moody second album. A bit more electronic (with elements of trip-hop and drum & bass seeping in), a bit darker, still brilliantly adventurous. A very exciting band.

16. Luttrell “Into Clouds”

I’ve been following Eric Luttrell’s superb, progressive blend of deep house and melodic techno for a couple of years, and now he unleashes his debut album. It doesn’t disappoint. Widescreen, beautiful, upbeat, catchy and excellently produced.

15. The Beautiful Monument “I’m The Reaper”

The Aussie quartet deliver their second impressive long player. Huge riffs, huge drums, huge melodies, in their blend of post-hardcore, pop-punk and metal.

https://tbmofficial.bandcamp.com/album/im-the-reaper

14. The Thrillseekers present Hydra “Altered State”

Despite releasing his first music in 1999, and releasing a steady stream of singles since, Steve Helstrip only delivered his debut album as The Thrillseekers in 2016. For this, his 2nd opus, he's decided to release under his Hydra alias. And what a beauty it is. Mostly instrumental, apart from a new reworking of The Thrillseekers classic "The Last Time" with vocals from Fisher, it is a masterclass in sublime, chilled, Balearic trance. Reminiscent of the first couple of Chicane albums, and makes you feel like you are blissed out on a beautiful, sunny beach.

https://thethrillseekers.bandcamp.com/album/altered-state

13. Jimmy Eat World “Surviving”

"Surviving" is Jimmy Eat World's 10th album. There are little touches of an expansion to their sound, but if you are familiar with their brand of American rock, then you'll know pretty much what to expect. This is undoubtedly a Jimmy Eat World album. It is, however, a very, very good one. One of the strongest they've ever done in my opinion, probably only with "Bleed American" as any kind of competition.

12. Age Of Rampage “Empire City”

Age Of Rampage deliver a plethora of breakbeat stompers on their debut album. Their love for acts like The Prodigy would be evident even without the first track sampling a Keith Flint interview, but the old school is delivered with relish here. If you love 90s breakbeat acts such as The Prodigy, The Chemical Brothers, The Crystal Method, Freestylers etc, this is a very worthy listen. Such a shame Russian breakbeat label Criminal Tribe don't do physical releases.

https://criminaltribeltd.bandcamp.com/album/age-of-rampage-empire-city-ctr035-18032019

11. Hands Off Gretel “I Want The World”

Hands Off Gretel are an effervescent blend of punk and grunge, led by the fierce Lauren Tate. A love of 90s rock is evident. "I Want The World", their 2nd album, is packed full of killer tunes.

10. Dido “Still On My Mind”

I’ve loved Dido’s voice since the early days of Faithless, so when she started releasing her own music I’ve always liked it to varying degrees (loved some of it, some of it a bit meh). This is her best album since “No Angel” in my opinion. It’s chilled, ethereal, and rather beautiful, and has been one of my most listened to albums in 2019. The title track is absolutely one of my favourite tracks of the year. I’m surprised it is top 10, but it had to be.

9. Wislov “Madness From Paradise”

Kniteforce Records and their sister labels have been a driving force in the old-school hardcore (or ‘rave’ as many early 90s compilations would call it) revival. Most of their releases are new music, just done in the old style, with fresh touches. Wislov is one of, if not the, greatest talent in this scene, and after a bunch of EPs and a slew of great tunes, this debut album is unleashed. And it’s a cracker. If you love that old-school sound you will find much to love here.

8. HÆLOS “Any Random Kindness”

Mesmerising, utterly beautiful, electronic tunes, with lush vocals. Picking up where their 2016 debut album “Full Circle” left off, but stepping up a notch. There is a heavy rave influence, but this is definitely made for the post-party, the comedown, the chill out time, the blissed out euphoria after the full on euphoria. Every time I hear this album I discover something new, and love it more. Wonderful.

7. Yonaka “Don’t Wait ‘Til Tomorrow”

Yonaka may veer to the poppier end of alternative-rock, but they know how to write a hell of a tune. Many of them in fact. 11 feature here on their debut album, released after a string of quality EPs and singles got them some exposure over the last couple of years. Hooks aplenty, huge choruses, riffs and electronics.

6. Anavae “45″

Fans of Anavae have been waiting a long time for this. The debut album many thought may never come. 8 years on from their debut single and 7 years after their debut EP “Into The Aether”, and following a bunch of EPs and singles in the interim, it is finally here. And I’m sure very few will be left disappointed. Rebecca Need-Menear and Jamie Finch deliver a typically varied alternative-rock album, veering at times into poppier territory, and others into moody trip-hop-esque tracks. Other times they stick to simple, yet epic, rock tunes like on the massive “High”. If you don’t know this band, check them out.

5. Dream State “Primrose Path”

Dream State progress in sound and technical ability with each release. From 2015′s debut EP “Consequences”, through last year’s excellent “Recovery” EP to this, their debut album. And it’s a pretty epic affair. Chunky riffs, pounding drumming, powerful vocals (both in aggressive and melodic turns from CJ Gilpin) with a massive, widescreen feel to the production. The Welsh 4-piece are often classed as post-hardcore, but that is far too limiting a description for a band with such obvious ambition. Class.

youtube

4. Machineheart “People Change”

Lush, shimmery, ethereal alt pop from this L.A. quartet fronted by the fabulous vocals of Stevie Scott. A cracking album from start to finish but a particular mention goes to upbeat (almost breakbeat styled) track "Overgrown" which is one of the best tracks I've heard all year. If you like bands like London Grammar or HÆLOS, give this album a spin.

youtube

3. Black Futures “Never Not Nothing”

Black Futures are a genre meshing riot. They've been called "Anarchic Electro Psych Punk Noise", "industrial noise-punk" and label themselves as "Future Punk". They have the sensibilities of a punk band and a dance band simultaneously. There's Bobby Gillespie from Primal Scream guesting, as is rapper P.O.S. More than once have they been described as a mix of Death From Above 1979 & The Chemical Brothers. It's a future party, a post-apocalyptic riot. Give it a listen.

youtube

2. Dallas Kalevala “Dallas Kalevala”

Dallas Kalevala hail from Finland and have been called fierce subarctic pop music. Whether they called themselves this I'm not sure. What it sounds like to me is a brilliant, varied pop album, slightly camp, with fantastic electronic production and some full on pounding dance beats. 9 brilliantly written tracks, that all sound different, but somehow sound like they come from the same band and belong together. There is a feeling Dallas Kalevala would be somewhat polarising. There's no way they'll be everyone's cup of tea (which suggests they are doing something right), but those that get them will love them a whole lot.

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1. The Chemical Brothers “No Geography”

To make their 9th album The Chemical Brothers returned to the equipment they used to make their first two albums. And though "No Geography" doesn't sound like "Exit Planet Dust" or "Dig Your Own Hole", it feels like them. Consequently it is arguably their best album since them, but it is definitely their best since 2002's "Come With Us". It feels a bit old school, but also fresh and new. Tracks flow into each other seamlessly making the album feel like a complete body of work rather than a collection of tracks, and it is utterly brilliant throughout. Joyous.

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Well there you go. I’ll leave you with the following, for your listening pleasure:

Spotify playlist - a countdown of the top 50 (50-1), minus a couple of things that aren’t on Spotify.

https://open.spotify.com/playlist/05F3PPwKO7NkwpD4eTJBiP?si=O8bO2JYDSqa3Kz-SzQ8D4Q

And a YouTube playlist counting down 50-1, but a completely different tracklist to the Spotify playlist (and different vids for the top 5 than are embedded here).

https://www.youtube.com/playlist?list=PLSWMYBJKcPo0tJGbPDFw8QAdZlb1BWj3H

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oneweekoneband · 7 years

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Why Did It Take Me So Long To Notice That The Word Is “Fury” Not “Furry”?

Hello again. While I must admit to mild surprise at Dinosaur Jr.’s absence from the constantly growing roster of artists covered on OWOB, I should also state my attempted approach to writing about a band with no lack of wordage already available on its behalf. Though potentially futile, I will be trying to write something that benefits a cross-section of readers, from the unfamiliar but curious to the currently dismissive therefore purposely detached to the self-appointed superfan. All of this being stated, please understand that “attempted” carries one hell of an implied emphasis.

As covered in the previous post, I’m an active writer with many years in the trenches, though at least a half-decade in between my first toe-dips into this endeavor and the formative teenage moment when exposure to two Dinosaur Jr. albums (1987’s You’re Living All Over Me and 1991’s Green Mind, their second and fourth, respectively) combined to transform a fervent interest in underground music into a terminal, all-consuming obsession that almost seems to have dictated, in some way, shape or form, each lifting of a finger since.

I’ve had a fair amount of writing published on the subject of this band, but most of it appeared during the first half of my now 18 years in this racket, barring the entries about several Dinosaur Jr. albums did make it into my second (and most recent) book, which carried the subtitle of 500 Essential American Underground Rock Albums 1981 - 1996 and a title that I absolutely hate so it shall not be revisited. On that note, attacks of full-body cringe have become as reliable as Christmas upon revisiting older writings, therefore I did not in order to guarantee no points or angles reiterated. But for what it’s worth, at some point in the early-00s, I did a long and embarrassing tribute to You’re Living All Over Me for the Perfect Sound Forever website as my first piece of writing on the band. Then once the spotlight was aimed backwards and topically in 2004-2006 for that period’s two-tiered reissue and reunion activity, I wrote a bunch of features about the Homestead and SST years (plus the early run of reunion shows) for several outlets. I interviewed both Mascis and Barlow, twice each if I remember correctly, and essentially felt like I said everything there was to possibly say about this band whose music more or less put me on a personal and professional course that continues to this day. I don’t feel like that anymore.

Two things to take into account before we move on: First, none of the subsequent entries will be this long, or at least that’s the plan. Secondly, this week will feature very little writing on the four albums of new material Dinosaur Jr. has released since the original lineup of J. Mascis, Lou Barlow, and Emmett Jefferson Murphy III (almost exclusively known as “Murph” but I find his full given name to be amusing) reunited in 2005…will be of the unflattering comparative variety. However popular it might be to jump to black-and-white, definitive conclusions, do not take this to mean I consider these albums to be bad or boring or anything of the sort. But do know that they are, despite what the rest of the world seemingly believes, inferior when placed against what I will be trying to push into your ears and lives going forward. And understand that Dinosaur Jr.’s major-label era (1991 - 1997) will be explored in a nooks-and-crannies fashion (meaning, we’re going to get into Mike Johnson’s discography), as I feel there’s a nice chunk of amazing music hidden in there that has been largely overlooked or misunderstood.

I am about as obsessed with music as I am the non-fiction ghetto in which I operate. Therefore it might or might not behoove me to do something no one outside of this little world should waste their time with, and that would be lot of overthinking about a couple of crucial elements of artistic criticism and appreciation that appear to be under constant attack these days: context and nuance. There is no such thing as good-to-great creative nonfiction or journalism that lacks or misuses either, and the most difficult to translate of the two is, of course, context.

These days it seems every talking head (or every record-store loiterer or live show barnacle) of similar vintage to myself should be wearing a t-shirt or rocking a bumper-sticker that says, “Ask Me What It Was Like Before The Internet!”. This is something for which I harbor a visceral and distinct distaste if not great embarrassment. Any historically-precise party line of assumed profundity is going to fail at transmitting the intended impact for two reasons. First is the obvious neutering of any meaning or relevance when beating a cultural audience over the head with something, year after year, generation after generation. The second is more problematic, as I’m not certain that being present during its heyday or for a following period of linear influence is necessitated so as to provide fundamental context needed to understand how or why a band was groundbreaking or brain-rearranging or whatnot.

For example, Dinosaur Jr. was four albums and seven years active once its music entered my life in earnest. Still, when it comes to blanket mantras of the reality-removed like, “This Was Before The Internet!” or “We Didn’t Have Cell Phones” battle stories, usually issued as some delusional badge of struggle or evidence of authenticity, we’re talking something that means far less than is assumed to a recipient without the same experiential history. I usually cringe when I witness someone else trying to get this across to a younger generation, though I have yet to figure out myself how to do it effectively.

Conversely, there are examples of past underground rock prescience (well beyond the legendary trio of albums released by Dinosaur Jr. between 1985 and 1988) such as Mission of Burma, Black Flag, NEU!, Brian Eno’s “Third Uncle”, The Feelies, The Embarrassment, Can, This Heat, The Fall, mid-period Sonic Youth, Husker Du’s SST years, Black Sabbath, Slayer, mid-80s Swans, and Miles Davis’ 1970 - 1975 output, to name but a few, that occurred long before I developed anything close to refined taste or the ability to let music have an impact on a deep emotional and intellectual level. Or, for that matter, the ability to breath air outside of the womb in some of those cases.

Still, once properly blown away, I could easily wrap my head around how each example was way ahead of the curve, or scared the shit out of most listeners who came in contact with it in real time. Of course, it helps if the music in question resides in the exclusive canon reserved for that which is genuinely timeless. If it falls short of timeless it sure as hell better be a high quality, well-aged specimen of music that’s nonetheless easily identifiable as being from a certain era of yore. Much of material released by Dinosaur Jr.’s during the band’s first two phases of activity, which together span 1985 until 1997, fits into one of those two categories.

My first meaningful introduction to Dinosaur Jr. essentially played out in similar a similar fashion to formative life-altering moments spun by many writers, musicians, and fans of my generation or older. I suppose a warning should now be issued that you’re about to read yet another account of someone taping episodes of MTV’s 120 Minutes. I had a habit of setting the recording time to the shittiest quality of six hours and fitting three episodes of said show onto my parents’ VHS copies of HBO and Cinemax films like The Cotton Club and Bill Cosby’s Himself. Some time after its parent album (You’re Living All Over Me) was released, on a Christmas night when I was in my early teens, the video for “Little Fury Things” ran between a Michelle Shocked number and The Cure’s infuriatingly awful “Let’s Go To Bed” (that goes for the video and the song). At first I focused on other future life-alterers like the clip for The Fall’s “New Big Prinz” and Sonic Youth’s iconic “Teenage Riot” video, as Dinosaur Jr.’s idea of a video and that song were just too fucking dark and ominous for my young teenage mind.

But because I had to fast forward or rewind through multiple Christmas-special live-in-the-studio tomfoolery from hosts They Might Be Giants along with crap that was somehow already “not for me” like Fishbone, Camouflage, Translator, and the not-that-bad-but-long-as-hell video for Love And Rockets’ “Dog End Of A Day Gone By”, I eventually came around to the three minutes and change that was the “Little Fury Things” video….like a moth to flame. I still have the very VHS tape I used to play and rewind repeatedly while my parents were at work during the day, blasting it through the shitty speakers of our 27” Sony Trinitron and running all over the floorplans of the three houses (well, one house and two apartments, if we’re to split hairs) I lived in during my high school years. The beginning of the video goes blank for a few seconds because I accidentally hit “record” on the remote amidst some furious bouncing all over the couches and chairs.

I seriously doubt there’s a song I’ve listened to, on my own accord, more times than this one and it still delivers a palpable, albeit much different due to time passed, charge as it plays at this very moment. The sonic dichotomy that makes this track exciting- powerful noise/distortion married to a huge, highly emotive pop hook-happens to be another dragon I chase to this day and in general has been one of the crucial elements of forward movement undertaken by post-hardcore, proto and first-gen indie-rock, punk rock, shoegaze and underground metal over the last 30 years. Because I still run into music obsessives, mostly younger, who are unaware of Dinosaur Jr.’s legacy and historical place as a paramount force of innovation, influence and well-aged listening excitement, I’ll close this entry with the aforementioned video despite it visually communicating far less than it does musically.

Much has been written (years ago by myself and more recently in Nick Atfield’s 33 ⅓ book on the album it opens) about attempting to decipher or assign one’s own meaning and words to what is probably a bunch of lyrical nonsense. I think that’s organically symptomatic of anything that hits with this kind of power and non-cheesy melancholic punch. A personal fave, however, would have to go to the one-off “Hallelujah, the sunlight brings the red out in your eyes” line that opens the gate for an instrumental mid-section of riffs (where a guitar solo might normally be).

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“Little Fury Things” official video from 1987′s You’re Living All Over Me

And here’s a couple of clips that hopefully illustrate how insanely loud and air-moving Dinosaur Jr. Mach I must have been as a live band, especially considering the average age of the members was 20 to 22.

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1986 at UMass…

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Germany, 1988, full set. Pretty good sound given the age/era.

#dinosaur jr

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tinymixtapes · 6 years

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Interview: High aura’d

When you listen to any of John Kolodij’s releases under the High aura’d moniker, American Primitive mixes with scorched blues rippers, subtle drone freakouts, and dark ambient excursions. For fans both old and new, Kolodij’s latest LP, and first for Seattle’s Debacle, No River Long Enough Doesn’t Contain a Bend, is as accomplished a record as he’s ever released. Save for the final track, featuring Angel Olsen’s vocals, No River is an understated showcase of Kolodij’s acoustic and electric guitar instrumentals, coupled with adventurous experimental song-scapes. In the run-up to the release of No River, John and I emailed back and forth from his current home base of Ohio, discussing the history of the project, his work as a chef, and how his home state’s natural beauty inspired the new record. --- I want to focus primarily on the here and now of the High aura’d project, but tell me a little bit about yourself, and how the project came into existence? I’m 44 years old. I grew up in Trumansburg, NY, right outside of Ithaca. The Finger Lakes — what people toss off as Upstate. I’m married to a wonderful, creative woman, who is also the mother of our three girls. High aura’d began as a duo, but then quickly became a solo path. I had always been in bands, and still clung to the idea that I needed someone to bounce ideas off, and fill space with. Due to an imminent tour with Barn Owl, and some new technology, I quickly fleshed out my ideas and was able to get the density of sound I wanted by myself. Listeners have the High aura’d discography to sink their teeth into, but what is your view on the evolution of the project? Any releases that would have surprised you when you first started? It’s purely an evolution. My earliest work was more meditative in conception, and I’ve been feeling a need to reclaim that, but again, it all represents who I am, and was at that time. That day. I don’t think I’m surprised by anything I’ve recorded. I’m truly grateful some people enjoy listening to my work, and I always will be. I’ve been very lucky to work with some fine people and have their support and encouragement. Finally hearing it on vinyl was the kicker… It has this warmth that I was always hoping to hear; and the art, which is photography of mine, but treated by Kevin Gan Yuen and incorporating the work of William Cody Watson; it’s a beautiful, singular package that I hope will make people want to own it. In a 2015 interview with Decoder, your previous collaborator Mike Shiflet mentioned that you were a chef. I would love to hear more about it. Are you still a chef, and what kind of foods were/are you specializing in? I was a professional cook. Chefs are owners. This all comes from the military system of rank. Chef being “chief.” I did not attend a cooking school, but I did unpaid stages for a chef in Boston where I was living, for a year on the weekends, and she offered me a job and I ran with it. I had just wanted to learn how to cook like someone’s great-grandmother, to intuitively know what to do and how to put ingredients together, to think seasonally, and cook from a whole food prospective. I’d always gone to farmers markets as a child, and we had a decent vegetable patch at our house. I’ve always been into Japanese and Vietnamese cooking — all of the places I cooked were New American (minus one very high end Italian place, which was trying to push that envelope) — local-sustainable, worked with local farmers and purveyors to raise and butcher or source as much as possible. We also had the flexibility to incorporate new techniques and ideas. But now, I have four clients, and I try to keep that as happy as possible. I still aim to cook like an elder would, just maybe one from Hokkaido, or a Buddhist temple cook. I try and stay up to date as possible regarding what’s going on in food trends, and I’ve got my various noodle soups locked down. My pho is pretty on-point. When you say, “to intuitively know what to do and how to put ingredients together,” I can’t help but think of music, composition, and songwriting. Do you see any connections between the way you approach cooking and music? In as much as they are, or should be creative crafts, yes. I’m often drawn toward minimal ingredients presented in their finest way; Pickled mackerel, a foraged mushroom. A tomato in late summer, with fresh basil that grew next to it, dressed in great olive oil. I only eat tomatoes when in season. I hate the false flavor a hot house tomato brings. I listen to tons of dub in the summertime, drink more tequila then as well. Are these linked? Your music, especially the new album, combines established sounds of blues and Americana with drone, noise, and other modern flourishes. Blues and roots music is associated with travel, migration, and movement. With a recent move from Rhode Island to Ohio, how did you approach your songcraft with your lived experience of migration? I think unless you’re trying to push your art in an unnatural direction, it’s always a reflection of the sum of your experience up until that point. I’ve moved around a good deal; Ithaca, NY, to Providence, Rhode Island; Brooklyn, NY, and Boston for a dozen years; Narragansett, Rhode Island, for two years, and now right outside Cleveland, Ohio, going on three years. I’ve been in bands since I was 13, my first being a ridiculous thrash-metal band. My next bigger band was super shoegaze, and then next was a slowcore-/country-influenced quartet with a cellist [ed. note: The Pines of Rome]. I feel like all that is in me at anytime. A lot of this record is done with acoustic guitars at the core, but there’s still oversaturated electric guitars, pedal steel, piano, and even acoustic drums, so it’s just me. I don’t feel I honestly consider fans’ expectations, or part of a musical tradition. I just try and hone in on whatever interests me in my work and dig out and polish what I like and present the truest version I’m able to. No River contains traces of both classic tropes of Americana, but mixed with modern drone and ambient composition. How do you balance carrying on the traditions associated with acoustic and blues guitar, while finding new ways to push the boundaries of fans’ expectations? Robert Johnson was probably my first guitar crush, from probably the most embarrassing point of entry, the 1986 Ralph Macchio vehicle, Crossroads, which featured sweet shredder Steve Vai as well. America was in love with hair metal, but I got this Robert Johnson boxset for Christmas, and I was hooked. I’ve always dug Bukka White, Blind Willie Johnson, John Lee Hooker…and this eventually led me to John Fahey, which led me to Gastr Del Sol, and then to Loren Mazzacane Connors and Keiji Haino which led me… all without The Interent! But on a parallel line, Sonic Youth led me to Bill Frisell, Bad Brains led me to Scientist, Led Zeppelin led me to Annie Briggs and Fairport Convention, King Crimson led to Fripp & Eno, Coltrane led me to Alice Coltrane and beyond… I don’t feel I honestly consider fans’ expectations, or part of a musical tradition. I just try and hone in on whatever interests me in my work and dig out and polish what I like and present the truest version I’m able to. Debacle wrote that you “dove into discovering the old forest and rivers of Steelhead Alley” after your move to Ohio. Did you find that exploring the surrounding natural area spilled over into your songwriting? I’d hope it has. Cleveland has the worst reputation nationally, and it’s completely undeserved. The people (as much as they are human, which is to say, as much as any other place) are open minded and kind. The natural wonders around here are spectacular. The forests are grand, the rivers wondrous, and the sky is intense. I’ve become an avid fly fisher, catch and release, and it’s truly amazing being out in the middle of a river and only hearing & sensing the natural world. I often try, when working on a piece to envision myself, somewhere else: in a desert, at the edge of an ocean, nighttime in Sonoma, crossing a footbridge in Miami, wherever feels evocative, and then trying to score that moment. I’ve been in love with cinema forever, and I just try and score everyday life. A lot of cinemas host screenings with live or newly composed scores. Have you had your eye on a film you feel you could do justice with your sounds? I love snowy films. John Carpenter’s The Thing, Paul Schrader’s Affliction, even Tarantino’s The Hateful 8, The Revenant, Fargo, A Simple Plan, The Shining… So perhaps something like that? Most of those are rather perfect as they are. I have performed quite often to films others have made for me, often over-saturated color rich impressionistic pieces. I love doing that. When you lived in Rhode Island, were you playing live often? Was there a venue or scene you were associated with? Have you established a new musical space or community in Ohio? I did play often, perhaps more in Boston at first, but I got out at least every 2 months on average. I played at Machines With Magnets quite a bit, bringing some shows there. I played a bunch with Work/Death (Scott Reber is simply the best). If you’re asking if I was down with Fort Thunder, I was down with Fort Thunder in real time. As far as Ohio, I’ve been playing out less, much of last year, as High aura’d because I wanted to focus on freeing my guitar playing up, and trying to expel learned or histrionic playing — I wanted to get free. There’s a wonderful music scene here with multiple layers and venues. I’ve been playing with some more improv/free people, which is well represented here by New Ghosts and venues like The Bop Stop and Dan Wenninger’s monthly nights. There’s the classic experimental people like John Elliot, Prostitutes, Machine Listener, Chromesthic, Talons, & Trouble Books. And great suppostive record shops/distros like Bent Crayon, Hausfrau Records, and Experimedia. As a listener, it’s fitting to dive into No River Long Enough Doesn’t Contain a Bend as fall kicks into high gear. Do you have ideal conditions or times of day well suited to working on and recording new High aura’d material? I like to try and work on music as early in the day as possible — my mind is as uncluttered as it’s going to be at that point. I do also enjoy relaxing, later at night, and watching really slow movies with grand cinematography and just free associating on an acoustic guitar. I often try, when working on a piece to envision myself, somewhere else: in a desert, at the edge of an ocean, nighttime in Sonoma, crossing a footbridge in Miami, wherever feels evocative, and then trying to score that moment. I’ve been in love with cinema forever and I just try and score everyday life. Is most of the material on No River based off of improvisation? How long did you spend on this project? If you mean recorded improvisation that became a song, 3 songs on this would qualify. Most others were worked on, over the course of 2-3 years. The move to Ohio, slowed me a bit, not that I’m swift to begin with. Finally hearing it on vinyl was the kicker. Helge Sten, who’s work at Deathprod and is a member of Supersilent, mastered the LP, and he just added this magic sheen. It has this warmth that I was always hoping to hear; and the art, which is photography of mine, but treated by Kevin Gan Yuen and incorporating the work of William Cody Watson; it’s a beautiful, singular package that I hope will make people want to own it, and not just download. Music was meant for more than laptop speakers. I’ve seen how other writers, labels, and musicians play drone and noise music for their kids, whether as a way to help put them to bed, or just to see how they react to it. How do your children respond to your work? It’s always strange to think of what our parents do as “cool,” but I imagine hearing some blaring guitar and drones growing up can make quite the impression on a kid. When our first child would need some help falling asleep, say while we were out doing something, and they were tired, but no quite there yet, we’d put on Tim Hecker’s album Harmony in Ultraviolet, specifically “Chimeras.” It would always do the trick. Plus it’s like another favorite, Aphex Twin’s “Stone In Focus,” it just has this glorious decaying motif. They love music, and they’ve all just recently started playing instruments they chose: ukulele, viola, and guitar. We never forced anything on them, they just have always had access. I’m sure to one degree they think my work is strange, but they also are keenly aware of all the spooky music in television and films. And they mostly think it’s too loud. My kids were more responsive to the band my wife and I had together, a fuzz/pop band called WORKING. They love pop music, and we listen to a bunch of that constantly, but I listen to a lot of hip-hop and soul, and they humor me there. Also, spare bits of metal. I think everyone enjoys spacing out on Arvo Part or Ryuichi Sakamoto, no? I know they enjoy it to some degree. My eldest daughter’s favorite record for a while was John Coltrane’s A Love Supreme, so I did something right. How did No River find its home on Debacle? Sam [Melancon, Debacle’s founder] has wide ranging tastes, but there are several records in the catalog (Hayden Pedigo, Elkhorn, Daniel Bachman) that, like you, take American Primitive and blues outside the box. Where do you see your place within the label and its ability to document varying scenes and movements within underground, D.I.Y. communities? I’ve long admired Debacle’s streak of representing what they like and giving at a physical manifestation. Their varied tastes are easily viewed, from records by my old friends Kevin Gan Yuen, Golden Retriever, and Daniel Bachmann, to Total Life, and Chambers, which features Gabriel Saloman of Yellow Swans. [It] reminds me in all the best ways of my former label Bathetic, who purely pushed what they dug, simply. With the record’s impending release, do you plan to tour? What’s next for you and High aura’d? I don’t plan on touring, but I do plan on getting out, radially, from here. I’d like to hit Chicago and play with some friends along the way. As far as what’s next, I have some great collaborations finished, looking for homes, one with Matt Christensen of Zelienople, and a brewing LP2 with Mike Shiflet. I may retire the High aura’d moniker, or keep it strictly for more sound/drone recordings. I hope to start work on a new collection soon. I feel like this year has had numerous wonderful records released and this is a glorious time for new music. I’d like to collaborate sincerely and seriously more in the coming year, and keep growing. And to do so freely. http://j.mp/2hWpQES

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sinceileftyoublog · 5 years

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Full of Hell Interview: Poser Grind for an Open Mind

Photo by Reid Hathcock

BY JORDAN MAINZER

To think of the new album from Maryland/central PA grindcore band Full of Hell, Weeping Choir, as a companion album to their previous one, Trumpeting Ecstasy, is a bit misleading. While lead singer and songwriter Dylan Walker told me that he “was in the same headspace” when writing both albums, none of the band members, Walker included, wanted Choir to seem like a part two. In fact, it’s the band’s best record yet because it seems definitive and stands alone, showing the different ways the Maryland band can envelop you with brutal intensity. And the band agrees.

Speaking with him over the phone earlier this month, Walker told me about why the band was so confident making Choir, switching record labels, working with Converge’s Kurt Ballou and Lingua Ignota, his love of drum machines, Luca Guadagnino’s Suspiria remake, and that time his entire family came to a FOH show. Oh, and catch them at Reggies this Sunday!

Since I Left You: What’s unique about Weeping Choir as compared to previous Full of Hell records?

Dylan Walker: This is really vague, but it’s better. We’re older, and we’ve been playing together for a bunch of years. I think we’re finally starting to be able to get what we hear in our heads onto tape. It can be a letdown when you get in the studio and want it to be a certain way and it doesn’t come out that way. It’s difficult to encapsulate what you think your band sounds like onto a record...It’s fun, but it’s taken time to learn how to do it properly. This time, everybody kind of went for it. Most of the time, I’m fine with the record and I can live with it out in the world but I’m always looking back and thinking I should have gone for it a little more. This time, I still have those feelings a tiny little bit, but it’s way lower than usual. This is a really nice distillation of everything we like and have taken stabs at before. Maybe it feels a little more cohesive? I don’t know. It’s a nice example of who we are. It’s a really natural record.

SILY: I definitely feel like you totally went for it. What stood out to me is how different the songs were in terms of style and sub-genre. Something like “Armory of Obsidian Glass” is this slow, emotional centerpiece, and “Ygramul The Many” is a thrash song.

DW: We’ve always done stuff like that, but Dave [Bland]’s gotten better at drums, and Spencer [Hazard]’s gotten better at writing guitar riffs, and I’ve gotten better at singing. Everybody had a part to play, and we’ve really inspired. We all enjoy what we’re doing more than ever and along with it feeling more comfortable with each other as musicians. It was a really positive experience. It was a really quick recording experience, and we took a while to write it. It’s a cool feeling; a lot of times, over the past couple years, I’ve felt we’re just getting going, and I feel really inspired at times. I think it shines on the record. We wanna write more.

SILY: Why did you switch to Relapse for this record?

DW: We kind of bounced around to a lot of different labels over the years. I always viewed them like residencies. I never thought about sticking to a permanent home. We left Profound Lore for no particular reason. We just wanted to give it a shot with a label that had a full staff. Profound Lore’s an amazing label. They did a perfect job on the records we did with them. It had nothing to do with what was wrong with any of the labels we worked with--same story with Thrill Jockey, Neurot, they’re all awesome labels. It was a huge deal to work with any of them. We’re just trying something a little different with Relapse. It’s been cool so far. I can’t complain.

SILY: This is your second time working with Kurt Ballou.

DW: We had been talking on and off a little before about working with him, and it wasn’t until we met him that I was kind of sold. I should have assumed I would have liked the guy when I met him, but he’s really fun to be around. He comes from the same kind of world we come from. He’s a punk dude, he plays in a pretty DIY/extreme band that meshes a lot of genres, and he knew who we were and what we were about. He had a really cool perspective.

SILY: He’s done so much production work, too, that did you feel a certain sense of security knowing how it was gonna come out?

DW: Yeah, totally. We don’t want a cold, mechanical sounding record, but I always felt like there was a line where it might be too raw. A lot of the music we listen to that’s metal-based is really raw stuff, and I was having a bit of a perspective shift that maybe people who listen to Full of Hell don’t quite want the absolute most necro, raw, fucked up production. There’s probably a balance between big, door-slamming production and leaving it a little raw. Kurt’s a nice middle ground.

SILY: Do you have a favorite song on the record?

DW: No, not really. I think the one that surprised me the most is the song “Armory”, the one with Kristin [Hayter]. It’s entirely because of Lingua Ignota’s contribution. I think it’s great. I think we wrote something a little different. When Kristin sent her tracks over, it was 10 GB. I was really confused by that. Even for WAV files, that would be pretty big. It’s because it was like 30 vocal tracks. She just said, “Use what you want.” We put it all on. It was so good. She’s so good at layering her vocals because she has such an insane voice. I feel like it gave emotion to our music that had never ever been there before. It was pretty exciting to me. I’m a big fan of Lingua Ignota, and being a fan of something and then getting to have it in your music is pretty special.

SILY: Do you mostly listen to heavy music, even if not all metal?

DW: I listen to all kinds of stuff. I’ve kind of become that guy that listens to just about everything. Heavy is a term you can argue. I think a lot of hip hop is really heavy. The beats are heavy. Lyrical content is deep and dark. It has its own heaviness even if its not sonic heaviness. I listen to some goofy ass shit. Folk, hip hop, noise, EDM. Over the years, I’ve tried to have a broad taste. I’m over the hater phase all the kids get into. The more you listen to, the more you can expand your palate. It’s important to have a broad palate.

SILY: Do you see the purism in a lot of people’s reactions to a band like Thou? Especially because they don’t dress like a metal band.

DW: It’s kind of funny, isn’t it?

SILY: I’ll read comments about them that have to do with the shirts they’re wearing, and I’m like, “Why do you care?!?”

DW: I think it bothered me a little bit when we first started and grindcore purists called us “poser grind.” But then I thought about it, even for a minute, and I realized all of the bands I was influenced by were all poser bands that were not doing it the pure way. They blended things together. I always liked that anyway. I kind of embrace it; it’s better that way.

SILY: That shows through with the collaborations you've done, too: The Body, Code Orange, Nails, but also so many different bands who are less well-known.

DW: Oh, yeah, we kind of just did what we wanted. You couldn’t ask for anything better. Do what makes the most sense to you and what feels right to you. You can never be wrong.

SILY: What’s your relationship with industrial and noise music in general?

DW: I think everybody in the band loves the heaviness and inhuman-ness of programmed drums. As soon as you open yourself up to drum loops, you open the gate.

SILY: The opening track of Weeping Choir, “Burning Myrrh”, starts full force pretty immediately. Why did you decide to open the record that way?

DW: Spencer’s responsible for the intro. I think it just depends how we’re feeling. With Trumpeting, we really wanted an identifiable standout sample to start the record. We hadn’t done that. And this time, we wanted to come in as a full band right out of the gate. It’s a personal preference at the moment of how we opened the record. We had records open with just noise and free-form drums, just stuck on the concept of having a record open like that. I always kind of liked the more free-form records you find more in jazz than metal. But that kind of preamble, of an orchestra opening up, I like that jammy kind of vibe. Every record’s definitely got its own voice. It’s just a matter of finding that voice and whether the opening feels appropriate for that style of record. We just wanted to feel like there was no filler. No bullshit. Get it and go.

SILY: The drums on “Aria of Jeweled Tears” really stood out for me.

DW: That song really has cool drum work on it. The guest on that song is this guy Limbs Bin. His style is hardcore but 100 times faster. It’s just him and a drum machine, maybe a synthesizer to make noise. On that track, you can hear programmed drums at the beginning and end and the middle--there’s a staccato breakdown. He plays programmed drums on top of that.

SILY: At first, it felt like a militaristic march. Then they turn into machine guns.

DW: His snare drum is really poppy and definitely has that marching band kind of sound. I had people ask before if it was a sample. It did remind me a lot of a machine gun once we laid it down. The pattern was intentional; it was meant to loosely mimic the riff in the middle that he sings on and plays drum machine on. With programmed drums, the world is wide open to you. Limbs Bin’s drum machines are so raw and fucked up and harsh. They suit the situation perfectly and color the song completely differently. If you don’t know the source, it’s even more exciting, because you’re like, “What the fuck is that?”

SILY: That’s the exact experience I had.

DW: That’s awesome...the first time I heard Godflesh I experienced the same thing. It was so alien. It was snapped to a grid--that makes it so much harsher, too.

SILY: What’s your live set up like on these songs?

DW: This tour’s gonna be pretty straightforward. It’s just gonna be the four of us. Sometimes, we have extra horn players, but this one’s the four of us. We all have new equipment, but otherwise, it’s a straightforward Full of Hell set.

SILY: I saw on Facebook that your grandma came to a recent Full of Hell show.

DW: Yeah, she finally came to a show in Philadelphia last month. It was really cool.

SILY: What did she think of it?

DW: I think she liked it a lot. I wasn’t really gonna ask her. She’s super sweet and supportive. She doesn’t like anti-Christian stuff. She likes ghost stories and horror, but she’s not into super sacrilegious looking shit. She kind of turns her head on that stuff. But I had all my aunts and uncles there, and they really liked it a lot. It was pretty exciting for me. I love my grandma. She’s awesome. I think the moment was more important for me than to her. I never expected her to get to go, either. When she told me they were going to come to Decibel Fest, I was like, “Sure, I’ll get you in, let me know,” not really thinking they were gonna go through with it. But they all decided to go. We played the pre-show, so it wasn’t a huge festival experience that would have been a little more overwhelming. They just made it in time, too. We were setting up and I looked towards the side of the stage and they were all there. Pretty awesome. You can’t put a price on that kind of stuff. Everybody in the band’s got pretty supportive families. Everybody’s parents have been to see the band multiple times. We’re pretty lucky in that sense.

SILY: Is there anything you’ve been listening to, watching, or reading lately that’s caught your attention?

DW: I just finally saw the Suspiria remake. I liked it a lot. I thought I would love it! I’m a big fan of the original Suspiria, and I usually hate when they remake stuff like this. I didn’t think it was gonna miss the mark because the trailer looked so good. And there was a lot I liked about it. Overall, it was probably the sickest movie I’ve seen in a while.

Other than that, a lot of hip hop. There’s this label called Griselda Records from Buffalo, New York. It has these guys on it that are absolute fucking psychos. The music is so dark, and the music is so good. Westside Gunn, Conway the Machine, and Benny the Butcher. That’s pretty much all I’ve been listening to for the past year. I was listening to it before we recorded, while recording, and after we recorded this record. I don’t know if it had any influence, but it definitely gets me really hyped up. I’m pretty obsessed.

SILY: Did you like Thom Yorke’s score for Suspiria?

DW: Yeah...parts of it. I like Thom Yorke, but I don’t want to hear his voice singing over a movie like that. I didn’t like the vibe. When it was just his instrumental, I think it works pretty well. The original score is so one of a kind. It’s a timeless horror soundtrack. No matter what Thom Yorke did, he would have naysayers on the other end of it. But I did feel like it didn’t quite match up to the spirit of Suspiria in certain moments. I was actually listening to it today after watching it. It’s really cool, but it doesn’t gel 100%. With a movie that old, people have their minds made up about what the universe feels like. I can definitely see why it was so polarizing when it came out, and Thom Yorke’s soundtrack is definitely a part of that.

Album score: 8.3/10

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