New Noise Magazine Issue # 61

new album “Grieving expectation” out april 1, 2022

new album “Grieving expectation” out april 1, 2022

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WILD LONELINESS

The new album from Superchunk out February 25 Featuring special guests Sharon Van Etten, Teenage Fanclub, R.E.M.’s Mike Mills, Camera Obscura’s Tracyanne Campbell & more “Is it heresy to suggest that, 33 years and 12 albums into their career, Superchunk are just now reaching the peak of their powers?”

—Stereogum

ISSUE 61

THE FRONT 6 10 12 14 16 18 20 22 24 26 28 30 32 34 36 38 40 42 44 46

THE NEW WHAT NEXT ANXIOUS CONFINES KING HANNAH DIVIDED HEAVEN FEAR OF A QUEER PLANET FIRE IN THE MOUNTAINS CRISIX SETH MANCHESTER CRUEL WORLD OMBIIGIZI ZEAL & ARDOR ABBATH CROWBAR CORPSE GRINDER MIDNIGHT NAPALM DEATH COMEBACK KID SUPERCHUNK NAKED RAYGUN

FEATURES 48 52 56

HOT WATER MUSIC DRUG CHURCH SUNN O)))

THE BACK 58 60 62 64 66 68 70 72 74 76 78 80

BORIS 40 YEARS OF CHRISTIAN DEATH MOM JEANS AUTHOR & PUNISHER SHAMIR DAN ANDRIANO & THE BYGONES N8NOFACE GREGOR BARNETT BILLY TALENT CHARGER THE SHORTLIST ANALOG CAVE

HOT WATER MUSIC COVER PHOTO BY DAVE DECKER DRUG CHURCH COVER PHOTO BY RYAN SCOTT GRAHAM TOC SHOT OF GHOST BY ALYSON COLETTA

BY NICHOLAS SENIOR PHOTO Research & Art Development

PHOTO CJ Grogan

ATOM DRIVER

Location: New Brunswick, New Jersey Album: Is Anything Alright, out now via Nefarious Industries

There’s an elemental understanding of what makes heavy punk music tick coursing through Atom Driver’s music. No two songs in Is Anything Alright sound quite the same, save for each carrying the same controlled, chaotic energy—yet everything about this excellent EP screams mastery-level insight into why so many of us have been drawn to punk, hardcore, post-punk, and post-hardcore since we first heard someone screaming over loud power chords. If that makes it sound like Atom Driver are some intellectual brain-trust creating highfalutin music meant to be digested over quill, ink, and a fine brandy. Is Anything Alright hits perfectly at the heart and head, and the fact that the band are comprised of some of New Jersey’s finest punks explains this better than I could.

“We are all part of a mutual admiration society,” vocalist and guitarist Mark Segal shares. “Each member in the group has been a part of something special, if not enviable (Deadguy, Buzzkill, Good Clean Fun, and Boss Jim Gettys). We have all been part of the same New Brunswick scene forever and have been in and out of our respective orbits for years. The uniting force behind it is that we each see opportunities to expand our own, individual creativity through each other. We are all spokes on a similar wheel. Because of this, I feel we are not necessarily relegated to a single genre or distinct song structure. Our hope is that the result is a set of songs that are each distinctly different and loosely tethered in the same relative genre.” 💣

PHOTO Tom Whitso

caroline

Location: London, U.K. Album: Self-titled, out now via Rough Trade

DREAMTIGERS

Location: Massachusetts Album: Ellapsis, out now via Skeletal Lightning.

There’s a constant tug of war at the heart of Ellapsis. Dreamtigers—comprised of members of Defeater and Caspian— are one of the most exciting acts of this or any year, and their keen mastery of competing dichotomies is the straw that stirs their musical drink. Hope and defeat, profound insight and self-deprecation, noise and calm, oppression and perseverance, shoegaze and emo—all of these are two sides of the same coin that proves Dreamtigers are mint. Few records have the emotional and music weight as this stellar Guitarist Mike O’Malley notes that variety was very clearly release, and while it seems like this mix of loud and quiet is all the rage in recent years, Dreamtigers roar above and the band’s intention: beyond the grungy haze. Ellapsis is powerful mostly because “It was, of course, important that the record ran as a partic- Woodruff and company come across as extremely human ular journey, although it wasn’t specifically written that way. throughout Ellapsis. It’s a record mostly written and recordI’m especially glad that you feel each song has a distinct ed before 2020 that feels as prescient and personal now as it vibe. I think it was unconsciously quite a big part of what we did then. Woodruff shares their musical identity. thought would make the album as a body of work interesting, shifting things track by track as we explore all these different “We wanted to fully explore noisier, slightly heavier instruenvironments in which to present these songs. I feel like some mentation, while pushing the vocals even more in the other of the songs that didn’t end up featuring on the album were direction—even more shimmery and harmony-laden. We scrapped because they were too close in spirit to another always want to make sure that each song stands apart as a song that had already featured, which felt like it wasn’t the distinct chapter in an album, each with its own vibe. I think best use of valuable space on there. There are also a lot of we accomplished what we wanted on both counts, bringdifferent ‘distances’ and rooms that you can hear through- ing together some very familiar elements in unfamiliar ways. out which are constantly morphing song to song or within the Will Yip’s mix really made it all pop, too—his vocal mix and drum mix, in particular, really made everything come out songs themselves.” 💣 exactly the way we’d envisioned it.” 💣 caroline’s self-titled debut’s brand of post-rock takes cues from indie rock, chamber pop, and folk, which offers up a constantly shapeshifting, wonderfully engaging listen.

No album has felt quite as comforting as this—the sonic equivalent of a warm blanket and hot cup of tea on a winter’s eve. But like a tea house, the variety of flavors (and blanket warmth levels?!) on display is what’s most impressive.

EARLY EYES

Location: Minneapolis, Minnesota Album: Look Alive, out now via Epitaph Records “Look alive” is a phrase that loosely translates to being alert and present, and it’s very clear that Early Eyes heed that message loud and clear. While there are a host of bands who aim to marry alternative music ideas with traditional catchy pop templates, this band of Minnesotans uniquely understand the value of going all in on the notions of what it means to be “different” and “catchy.”

The sheer quantity of ideas throughout Look Alive is daunting (synthpop, funk, emo, Michael Jackson, horror film scores), but it’s the quality that’s most impressive. This is an album filled with bops of the highest order.

Vocalist Jake Berglove shares how they accomplished this:

PHOTO Albie Sher

6 NEW NOISE

“I think we really wanted to redefine what our artistic values were in the music world. Before Look Alive!, we were really trying to become career musicians, and although that is still a long-term goal of ours, the pandemic really exacerbated the creeping influence of capitalism on art for us. It is harder than ever before in modern history to make a livable income in the U.S., and we really had to weigh the value of our labor versus the value of what was (capital T) True to us as artists. We kind of set out to make an album that explored that dichotomy. An album that was true to our love of ‘pop’ music but was also true to our love of fucked-up music. I think we primarily wanted to make a record that made it clear that everybody who worked on these songs really and truly loves the process of making music, and we can’t sacrifice that love to continue an unsustainable culture/economy in the world of creativity.” 💣

PHOTO Marty Moffatt

PHOTO Melissa Ghezzo

ECLIPSE

FALSE MEMORIES

Location: Stockholm, Sweden Album: Wired, out now via Frontiers Music

Location: Italy Album: Echoes of a Reflection, out now via Frontiers Music

Eclipse have been kicking ass in the retro hard rock realm for quite a while now, but their latest release feels like a whole new animal altogether. Embracing the hooks of Bon Jovi and Def Leppard, the riffs of The Scorpions, and the songwriting prowess of Bryan Adams—though this is more the Summer of ’89 than ’69. Eclipse can stand leather-clad shoulder-to-shoulder with The Night Flight Orchestra as the lead for the throwback hard rock throne. Much of Wired feels tailor-made to hit that platonic ideal of what you picture when you think of empowering 80s arena anthems, albeit with much smarter songwriting and truly tasty guitarwork. If “Run for Cover” or “Dying Breed” doesn’t get your blood pumping, then you may want to make an appointment with a local cardiologist. Everything about this record sounds like a party waiting to happen, and that was no accident, as vocalist Erik Mårtensson explains:

It’s quite rare for a band’s personality to shine through so clearly in an album comprised completely of cover songs, especially when you consider how well known the artists are in the dark metal realm: Lacuna Coil, Katatonia, and Paradise Lost (among others). It’s even more surprising when Echoes of a Reflection is likely many people’s first experience with the band. False Memories takes gothic rock and dark metal and magnifies everything—bigger riffs, massive hooks, and a brightness that highlights how much fun these Italians are having. Much of that initial great first impression can be traced to vocalist Rossella Moscatello, whose soprano is the perfect accompaniment to the band’s arena-ready sound. Sure, this is reflective-bordering-on-sad music, but that doesn’t mean False Memories can’t sound like they’re having the time of their lives making music. Speaking to the cover selection process, Moscatello shares some insights:

“I think we wrote the album that we wanted to listen to at a post-pandemic party. A lot of bands and artists have written quite dark and mellow albums during this period, but when we started to write, mostly up-tempo songs with great vibes came out. [That] wasn’t the plan; it just happened.” 💣 PHOTO Tyler Bertram

“(Choosing these five songs) wasn’t difficult at all; just we wanted to do a nice tribute to five bands that we love, and at the same time we wanted to give to our listeners and affectionate fans new music, even though it isn’t new! Basically (we all) really love female voices, so it was a real pleasure to do covers like ‘Our Truth,’ ‘December,’ and ‘Strange Machines.’ I am totally in love with ‘December;’ that is a unique song originally born in a Gothic rock style. We did a metal cover, and we loved doing it in that way!” 💣 PHOTO Scotty Fisher

HELP

Location: Portland, Oregon Album: 2053, out March 22 via Self-release The beauty of post-punk is, you never really know what you’re going to get. You could get mathy art-punk, synth-y ‘80s nostalgia, danceable indie flair, or a rush of noise that’s almost noisy hardcore. Help take the latter approach with their riveting debut, churning out some of the most caustic, energetic post-punk in the game. Help sound like a band serenading the end of the republic, riotously fueling the uprising against the rich and powerful. It’s not angry music for the sake of anger, but listening to 2053 feels like a release valve getting turned to the left, and that’s very much what the band aimed to do, as drummer Bim Ditson explains:

HOSTILITIES

Location: Portland, Oregon Album: Cowards, out April 15 via Bullet Tooth

“I mean, this record was completed by March of 2020. So, if it’s about anything, that stuff is worse now after the pandemic. I’ve felt like we’re on the edge of the collapse of Western Hostilities’ harrowing journey through human suffering and empowerment feels society all my life. Maybe it’s because I’ve always worked super hard and still been poor, timeless and prescient. Their brand of thrash-centric metalcore feels old and new, but I can’t wait for this place to burn. America has been a failed state since before my the kind of heavy music that gets at why we all enjoy it so much at an elemental level. parents met. This record isn’t about anything new, as far as I’m concerned. What it’s about is The band share their thoughts: the reality that we live within, and how fucked up that place is, and how difficult it can be to ‘be’ at all. The rest is just details that people with power use to distract us from how they have “[We have a] collective drive to make heavy music, sounds simple but we’ve noticed fundamentally failed their fellow man. The intensity of my frustration is a product of my love. more and more people wanting to drift away from aggressive music and do someIt is horrifying to love in modern times. I have enemies, but I have learned to not identify thing else, which is great, but sometimes you just want to play fast, hard, and heavy. them too clearly because then I tend to become some sort of a low-resolution photocopy Aggressive music never goes out of style, all we are thinking now is how do we make of them. Music is what I want to make in hell, and I feel I am in hell here on earth. So be it.” something more aggressive after this record, how do we top this one.”

Guitarist and vocalist Ryan Neighbors adds another two cents: “This record just stems from a place of, ‘When will this all stop.’ Keep in mind, we recorded this record before COVID and all of the other things that have happened since early 2020.

But more or less, all of these songs fall under an umbrella of hopelessness and collapse. It seems to only be getting worse. I grew up in a very religious home, and I find great release screaming about the stresses that has caused, not just for me personally, but for so many others in a variety of ways. If there is anything our music can bring to people during these trying times, that is why we are here.” 💣

“This album came together,” they continue, “when the world was going (and still) crazy, some of us lost jobs, some of us had to look inward at our personal issues, and some of us had injustices shoved in their face that struck a serious nerve. Couple that with what felt like a life’s halt on the enjoyments we take for granted, the theme of the album is one of frustration and anger. That said, we aren’t pessimistic all the time and pointing out the imperfections of life should always be met with a push to fight through it and not let it get on top of you.” 💣

NEW NOISE 7

PHOTO Amir Rivera

PHOTO Jaka Curlic

LADY PILLS

Location: Boston, Massachusetts Album: What I Want, out now via Plastic Miracles

DOC ROTTEN

Location: Trenton, NJ Album: Unite Resist, out March 25th via Working Class Productions

There’s this idea floating around artistic and professional circles that the pandemic cre- If you love anti-establishment punk that prioritizes excellent songwriting and emotional lyrics over anything else (i.e., Anti-Flag or Bouncing Souls), Doc Rotten just might be for you. ated an opportunity to learn new skills, foster new hobbies, or get some major new pursuit Side effects include humming along to every song and sleepwalking to your nearest protest accomplished. Fuck that: if you survived, that’s a victory and more than enough. Doing sight. Consult a physician if you don’t want to be a better person after ingesting Unite Resist. anything, truly one thing besides what is absolutely necessary, feels like climbing Everest. All Do not take the album if you adore people in the color orange or if the letter “Q” means that is to say, Lady Pills, aka Ella Boissonnault, is one of those new pursuits that not only feels anything to you besides being part of the alphabet. like an accomplishment, but actually outstanding art, regardless of the time in which it was created. This is the kind of post-Sleater Kinney alt pop that just lifts your spirits in a magical Drummer AJ Martinez speaks to the active ingredients that make the good Doc go ‘round: way. It’s not an optimistic or even happy record, but it’s clear that Boissonnault finding a way to get these songs out of herself and into the world resulted in triumphant, heartfelt “We love high energy songs that are fun to sing along to. And when they also have a message jams. She explains the challenge of making this album a reality: behind them that’s either bringing awareness to things that are wrong in society, or just positivity, it makes those fun songs all the better. Also, we like the fun fuck around songs that mean “When the pandemic hit and lockdown began, all of the pillars in my life kinda fell apart nothing. Fun is the operative word. Unite Resist is about sticking together in opposition to any and disappeared at the same time. I was living alone for the first five or six months of and all oppressors. This pretty much means anyone affiliated with any and all governments lockdown, and the prospect of performing and touring felt so distant. I really let myself at any level. Historically, it always turns bad when a small group of people controls a large drift from my identity as an artist. Eventually, I just had to stop myself from wallowing group of people. Most of this record was written before 2020; however, its message is more and kick it into gear because I wasn’t working; I wasn’t seeing anyone, and days were important now in 2022 than 2019. That’s because our problems didn’t start in a vacuum.” really melting into each other. I set the goal for myself to make a record and revitalize my relationship with music. I needed to do it to stay sane and to remember who I am.” 💣 He continues: PHOTO Lawrence Wheeler

“As much as we love saying ‘fuck the government,’ we’re also regular dudes with a long list of our own character defects and interesting observations, so we have some personal stories in our songs on this record too. The best way to unite with the people around you is to first identify with them on an emotional level. It’s important to talk about regular life stuff too.” 💣

TUSKAR

Location: Milton Keynes, U.K. Album: Matriarch, out new via Church Road Records

The U.K. metal scene strikes again, though this new find feels a bit distinct from the rest.

So much of those British titans (Architects, Employed To Serve, Venom Prison) are all about maximalism. Tuskar instead blend minimalism and go-for-the-throat fury and the power and potential of dynamics. The duo craft a brand of doom that would feel as at home in the American swamps (Mastodon, Red Fang) as in Sweden (Monolord), though there’s a playfulness and progressive mindset that feels uniquely British.

Guitarist Tom Dimmock shares how the band’s writing style works: “Whenever we write it is always simply chasing that feeling of excitement that you get when something appears out of nowhere and takes you by surprise. It might start with a rhythmic idea or melodic concept, but if it doesn’t spark that feeling inside, then we just move on. We also write a lot by just improvising ideas live, and I think this is where that sense of joy and excitement comes from. I find if you write too much in the ‘box’ or on your own, the ideas can get repetitive or stale. Having two musicians that know each other’s styles and musical voices means we can change ideas on the fly creating something we didn’t see coming ourselves.”

Tyler Hodges, vocalist and drummer, adds: “Our music tastes are very similar, and we get excited by the same things, something that I think is very important to us as a band. I’ve played with some incredible musicians, but nothing ever quite feels the same as when we are on a vibe. Performance is everything for us.” 💣

8 NEW NOISE

PHOTO Madison Ross

TEMPER TANTRUM Location: Toronto, Canada Album: Baby Blues, out now via Self-release

Raise your hand if you’ve wanted to scream as loud as possible at least once these past couple years. Put those hands up, liars. There’s a lot to be frustrated about, and if you want to channel all that frustration during a five-minute break between video calls, boy howdy have I got an EP for you. Temper Tantrum’s take on hardcore feels delightfully old-school— think Cold World and Blacklisted but written by guys who also listen to country music. The Toronto hardcore scene is astoundingly fertile, and if these five minutes are anything to go by, Temper Tantrum’s musical tears will bear fruitful musical output for a long time.

Bassist Paul Marshall expands on the band’s ethos: “You really hit the nail on the head, and so did Ross Rickers with the artwork, by the way! The idea behind Baby Blues as a record and Temper Tantrum as a band is that there’s a lot to be mad about out there, and that there’s better things to do than cry about, but also, here we are crying about it! Honestly, Temper Tantrum is all about us having fun, having an outlet for our stress, anger, and negative bullshit, and us wanting to do right by each other as a unit. We’ve had nothing but time to write and jam and get to know each other better the last little bit, and we’ve written these songs, and a bunch more, we’re all really proud of.” 💣

POWERFUL POSITIVITY

Anxious

INTERVIEW WITH VOCALIST GRADY ALLEN BY CALEB R. NEWTON

L

ittle Green House—the debut fulllength record from the Connecticut post-hardcore group Anxious, out now on Run for Cover Records—quickly proves itself to be an uplifting listen. The often gritty and occasionally tense album reflects inwardly churning emotions, but Anxious find a light, and their music keeps moving. In the process, the band paint a musical picture of life beating the odds against it in a way that feels sustaining and can carry those involved off into the future.

as rhythmically free-wheeling, as though the band and those along for the album’s ride are lurching towards a sense of genuine freedom.

This vivacious album emerged from squarely within the band members’ own lives, and the dynamics contained here— Little Green House is almost constantly shifting, although not overwhelmingly so—make the experience feel particularly personal.

PHOTO “When it came to writing Little Green House, Spencer Chamberlain it was trying to do our best to not feel like “I would consider the record reflective we were compelled to be stuck within in a positive way,” vocalist Grady Allen strict parameters because that’s what this shares. “I would say that it’s a peaceful more subdued, uncertainty-plagued mocoming to terms with all of these things, is ‘supposed’ to sound like, or this is what ments and jolting the whole experience this is ‘supposed’ to be like,” Allen explains. with a burst of rejuvenating electricity. and embracing that change, and these new experiences within these relation- “And instead, we just approached it with a philosophy of, let’s try to create this totally “I think the songs that we’re writing, and ships, although they might be painful, or unashamed reflection of ourselves. We frustrating, or aggravating. They’re not all of that, are very reflective of the just tried to approach it with, let’s just try inherently all bad. And they’re not bad things that we’re experiencing now,” to write good songs and not focus on, oh, Allen shares. “So, I mean—probably not experiences to be having. So, I think the this sounds like this band, or this scene, or record has maybe an appreciation for enough time has passed that I can gain something like that, and instead, we just these experiences, even though in the the proper appreciation for it now, but I tried to create where this sounds like us.” moment they might be x, y, or z.” think probably when I’m older, I will enjoy looking back at these songs. This project, Sound-wise, Anxious evoke a sense of in- The sonic breadth that fans of related in general, is kind of a snapshot and sort vitingly familiar punk and hardcore heat. styles might hope for is here, fueled by of a reflection on this phase of my life. I straightforward earnestness. Anxious While it’s grounded in careful-sounding think in that way there is very much a explorations of shadowy emotional cor- sound as though they’re finding strength pairing between the experiences we’re in vulnerability—like they’re looking at ners, Little Green House also comes across having and the music that we’re writing.

Pinkshift

I think it’s a testament to the emotional fulfillment that music can provide that it’s not something you feel compelled to drop after you’ve done it for a couple of years.”

Allen enjoys connecting with listeners. “I consider Anxious a band that’s still very much figuring it out,” he says. “To me, I’m surprised that anybody cares and is invested in any sort of way besides very casual listenership. So, in that realm, it’s always very surprising and very flattering, but I really enjoy it too. It’s really cool to see somebody have an intimately personal connection with something you’ve created, despite them not having the insight of what created it.” 💣

INTERVIEW WITH VOCALIST ASHRITA KUMAR BY JAMES MUDRAK

“I

think some women of color and people of color in general feel like they have to be something they’re not in order to be called ‘good.’ That standard in your head has been created by the white icons who have always been in the spotlight, but we have so much more of ourselves to offer that people haven’t seen yet. Take what’s unique about you and flaunt it.”

A piece of wisdom from Pinkshift’s vocalist, Ashrita Kumar, illustrating their platform that aims to represent authentic expression while also empowering others do the same. Pinkshift aren’t your typical punk band. They do not stand on a silent platform. Pinkshift are here to represent how you can be whatever you want to be, no matter where you come from or how you identify.

The story of Pinkshift started back in Baltimore “Rat City” Maryland during their college days, when Kumar met Pinkshift’s guitarist, Paul Vallejo. The two met through a music organization on their campus where Kumar says the two “discovered that we love to write original music.”

After the formation of the band, playing local shows, dropping their EP, and their graduation, the pandemic struck. COVID has affected artists all over the globe but has also led to new avenues of getting their name out.

10 NEW NOISE

Whilst trying to secure jobs and peddling their music on the side, Kumar describes how Pinkshift handled the pandemic by using their “down time to go about promoting the songs we had written before going into the pandemic.” Kumar continues by saying how the music “was really only a hobby before our music started gaining traction online.” Their highly acclaimed song “I’m going to tell my therapist on you” has accumulated over four million streams since its release back in July 2020. One could say they shifted the tides with that one!

PHOTO Joe Calixto

People often place Pinkshift in a box by classifying them under the genre of pop punk. Kumar elaborates that she is “not really drawn to that genre, or any genre in particular.” Her admiration for punk though is evident when she describes the scene, saying it “allows you to take up space and I like how catchy melodies are something everyone in a room can collectively enjoy together.”

It’s safe to say that Pinkshift don’t just create for the meaningless void either.

Kumar asserts how “We really do everything with purpose—we only release songs that we’re really proud of, and we believe in our project 100 percent.” This holds true as a trait to both aspiring and established artists.

She takes her inspirations from “older pop music that has punk elements, like No Doubt, and punk bands that had pop appeal, like Nirvana.” Listeners can hear this in their notable and catchy five-track discography that displays the range of the band’s musical spectrum.

A driving ethos of Pinkshift is that the band is an inclusive space for all people of all backgrounds. The band could be seen as a light on the underrepresented communities within the scene that “always existed in this space, and now we’re taking the stage,” exclaims Kumar.

The exciting and perilous journey of Pinkshift has only begun! 2022 has a lot in store for fans as Pinkshift hits the road in the U.S. supporting Canadian rock band Pup this spring. Then they travel to the U.K. for their first time to play the Slam Dunk Festival in June. Pinkshift have come a long way from recording demos in their dorm rooms and playing shows in bars, to say the least.

Kumar assures us that in 2022, “fans can definitely expect new music, both unreleased live and to be released on the record. It’s going to be a massive year for us, and we’re so excited.” 💣

POWERFUL RIFFS

Girish & The Chronicles INTERVIEW WITH VOCALIST GIRISH PRADHAN

BY MICHAEL WOODWORTH

H

air metal: the seemingly “old school” and “classic” genre never truly went away as some genre waves have over the years. India’s Girish & the Chronicles just released their third album, Hail to the Heroes, via Frontiers Music s.r.l. in February, a fresh take on the classic genre during a time that needed it most.

of Sikkim, nestled in the Himalayan Mountains and renowned for its spectacular views, culture, and good food and music. It’s a popular tourist destination with a diverse ethnic populace, though access takes some effort due to its elevation. The influence of music was more due to circulating music than experiencing touring bands in a live setting.

“Sound and songwriting-wise, I feel that “There wasn’t really much to go on, Pradhan explains. “Gangtok was a small town we were looking for something that with not too many bands visiting the would have the traits of the ‘80s with the place back in the day, but there sure kind of riffs we grew up with, but at the was a lot of rock ‘n’ roll being circulated same time, it needed to sound new and fresh. The title track, “Hail To The Heroes,” around. Some of the local bands always showed us kids that it was possible for is about paying our respects to an entire our people to rock on stage too. We had generation of bands and artists. Every an elder brother figure named Stephen song would probably remind everyone Namchyo, who was the heart of the of their own individual favorites, but at the same time, give a fresh perspective. scene. (He was) a guitarist who could play like Eddie Van Halen or any of the greats.

It’s as if it has come from an alternate This was in mid ‘90s. This totally changed universe or something,” Pradhan laughs. my life and I badly wanted to become like them. Their band would cover stuff by G ’n’ And in a way, it has. The band hail from R, Iron Maiden, and all that. We would also Gangtok, the capital of the Indian state

PHOTO Andy Julia

watch the classic bands on MTV, the local bands covering them, and share cassette mixtapes in heavy rotation in school. I guess the whole thing just got imprinted in my heart as a kid and I could never deviate from that kind of music.”

He continues, “I think it’s important for songs and albums to act as a time stamp.

I feel we have represented what’s going on in the world right now, along with the nostalgia of the past.” 💣

Sylvaine INTERVIEW WITH PROJECT MASTERMIND KATHERINE SHEPARD

BY ADDISON HERRON-WHEELER

I

’m a new fan to the Sylvaine camp, but now that I’m here, I can’t believe it took me so long to get on board.

Her gorgeous vocal stylings paired with melodic, post-black metal excellence are nothing to sneeze at, and on her new record, Nova, out now via Season of Mist, she’s really outdone herself when it comes to melody and composition.

“When we started writing Nova, it was 2019,” Sylvaine herself, aka Katherine Shepard, says. “I spent 2019 and 2020 writing because everyone was locked at home, so I had time. Then we were supposed to record at the end of last year, which didn’t happen. So basically, it got pushed back to early 2021. The recording process was special for this one. It was long. I think I was in the studio for 66 days total.”

plains. “So, 2019 and 2020 were probably some of the most challenging years I have had in my life so far, and don’t get me wrong, I know I come from a place of privilege. I really do. I have a house, a great family, and friends around me.

I don’t have the right to complain too much. But for me, it was more loss on a personal level. It was extremely hard for me in 2019, and then 2020 came around and was even worse, and then the global situation happened. So, Nova is basically a record that deals with my personal loss and also the collective loss we all faced during 2020.”

The record is indeed a glimpse into personal loss and human suffering, but don’t think it’s going to be a total bummer. There’s definitely an uplifting feel to the post-black metal riffing and the overall music, a light-at-the-endof-the-tunnel vibe.

During the recording process, the whole band got COVID and decided to “The whole album revolves around to the idea that everything has to come to tough it out, isolate together, and keep an end, and I was very close to naming working as long as everyone was feeling the album that, but decided it sounded well enough. And feeling well enough too fucking aggressive, and that’s not was the operative phrase, as the type what people need right now,” Shepard of vocals Shepard does are not easy on laughs. “But that’s basically the theme the lungs, and she has asthma. Despite of the record: personal loss, global the setbacks and the pained process of loss, spiritual loss, human loss, and all bringing the record into the world, the record turned out, in my humble opin- the pain and suffering that can arise from it.” ion, as their best yet. This could be due to how well the themes on the record The pain and suffering, yes, but also the pair with the current climate. rebirth and next chapter, as we see on “Basically, Nova deals with loss,” she ex- this glorious record. 💣

NEW NOISE

11

MADE FOR THE DANCEFLOOR

Confines

PHOTO A.F. Cortes

INTERVIEW WITH VOCALIST AND PRODUCER DAVID CASTILLO

BY MARIKA ZORZI

N

YC vocalist and producer David Castillo’s new album under his solo project Confines is an ode to life in all its manifestations. Released via Synthicide in December 2021, Work Up the Blood is the result of Castillo’s experiences and passions channeled into a project that sees him out on his own for the first time and passionately pursuing a new mode of expression.

to make electronic music, so after my band ended, I dove into synths and hardware. With the help of many generous friends and personal musical experimentation, I started to create the sounds that became Confines. It became the path to that self-determination I was craving.”

On the new EP, Castillo definitely succeeds in finding a new energy that radiates from every beat and hook.

“I’m just looking to fully inhabit myself and be self-actualized,” Castillo says. “In our world, there aren’t many times where you “I only hope for people’s visceral reaction,” Castillo admits. “I know a lot less can express yourself exactly as you would the phrase ‘get the blood flowing.’ Those To Kill a Mockingbird on Broadway,” he about the scenes, micro genres, and like, and the opportunity to make art is a moods together made it the perfect title.” recalls. “During the play, there was a internal politics of electronic music, and rare exception. I think artists often wrestle heated scene where Atticus told another with overcoming their fear to be vulnera- I think that’s part of the reason it feels so liberating to me. I also think that Con- character they didn’t have the guts to “I felt really happy with the end result and ble or give what they truly have inside. I never knew I could make it there. I am stand up for what was right. Instead of fines shouldn’t always be relegated to am figuring it out as I go, but I am coming proud of myself for that alone.” saying the phrase ‘work up the guts,’ he the dance floor. As I make longer works, I up with my new ritual. Not overthinking hope to express more palettes and emo- said, ‘work up the blood.’ The phrase it is key. If I want to sing, I will. If I want really stuck with me, and I wrote it down. In Confines, Castillo has created a tions. Right now, I feel like my music has to add guitars, I will. If I want to write a space where he can exorcise his own When I kept saying it to myself, it started utility in four places: the club, the car, the 20-minute techno track, done. As long as demons while also providing a cathartic to make sense in the context of my work.” dance floor, and the bedroom. Maybe I it serves this new ritual I am developing, I soundtrack for others to find their own will go there. Not giving a fuck is the best, can reach further than that ...”

“It became my mantra to have the cour- release. and I am trying to do it more and more.” age to be exactly who I am musically and Confines is Castillo’s most personal fulfill my promise to myself,” he continues. “I just hope people can find moments in project to date and Work Up the Blood is “I created Confines as a way to create their life where they can use the music as catharsis through musical self-determi- its ultimate representation so far, starting “Basically, to not be a coward and chicken a soundtrack for whatever they need it out, but to use all your tools and say fuck from the title. nation,” he continues. “At the time, I felt for. A party, a drive, a hookup, etc. Whatit. Additionally, it also feels energetic and things were unraveling and I needed a ever it is, just live big to it.” 💣 it’s an upbeat record. It feels similar to sense of control. I had always wanted “I saw Jeff Daniels play Atticus Finch in

Empath

PHOTO Miranda Nathanson

INTERVIEW WITH VOCALIST AND GUITARIST CATHERINE ELICSON, KEYBOARDIST RANDALL COON, AND DRUMMER GARRETT KOLOSKI BY TYLER SOVELOVE

I

n 2019, Empath released their debut full-length record, Active Listening: Night On Earth, introducing the band as one of the best noise acts in Philadelphia. Their highly anticipated follow-up record, Visitor, is out now via Fat Possum Records. The record strikes a balance between the group’s tried and true noisepop sound and diving headfirst into new musical territories.

“It’s all the same songwriting approach I feel like we’ve had before,” explains singer and guitarist Catherine Elicson, “but maybe just like being more open to having songs that are pop songs and don’t necessarily need to have a lot of punkness in every song. We’re just embracing the pop side a little more.”

Drummer Garrett Koloski continues, saying, “I feel like nothing is different.

We just took more time to record.”

Visitor is the group’s first record to be recorded professionally rather than the DIY home recording style used on the band’s previous releases. It still retains a lot of the lo-fi elements of the

12 NEW NOISE

group’s sound, which in large part is due to Jake Portrait of Unknown Mortal Orchestra being brought on as the record’s producer.

“I feel like Jake (Portrait) isn’t the type of person who needs to have things sound super polished or produced.

That’s the reason we wanted to work with him because he was down to make it more how we wanted to and make it sound like we wanted to. We didn’t want it to be like a super polished record. A lot of it is still, you know, layered and blown out,” Elicson says.

Despite moving up the latter into more a more professional setting, the band still remains fiercely DIY at heart. It’s a family style operation where everyone takes on different roles.

“I feel like Catherine gets stuff done, Randall fixes stuff, and Gem and I are just along for the ride,” Koloski notes.

“I, too, get stuff done, though,” laughs keyboardist Randall Coon. “You know, I do the taxes and put the business license

“There’s lots of different pockets of music and you don’t have to adhere to one genre or one scene,” explains Elicson. “There are expectations of certain genres in some music scenes. Usually, Empath have called Philadelphia home there’s the music scene, and it’s like this since the band’s inception, with almost the entirety of the group having relocat- is the general type of music that you’ll find, but in Philly, there’s everything, eved to the city shortly before the start of the band. Born out of Philly’s DIY under- erywhere, and you can kind of dip your toe in different types of music.” 💣 ground scene, the city has undoubtedly had a big influence on the band. together. I’m the handiest, so I end up doing a lot of the van work. I fixed a keyboard, too.”

RIVERS & POOLS

Devon Kay & The Solutions INTERVIEW WITH DEVON KAY BY JOSHUA MARANHAS

G

rieving Expectation, out April 1 on Pure Noise Records, is the most collaborative work that Devon Kay & The Solutions have recorded to date.

new record has been slowly released as singles. That’s fine; the addition of the latest songs has completed a plan. It has created a flow. Kay puts the tracks in context:

“This record’s been done for a while,” Kay says. “We did Limited Joy and then imme- “This record is just the culmination of a plan. We had to try and make something diately realized that we weren’t gonna that good. A lot of brains went into makbe able to tour it because of COVID. The ing this whole thing operate, and I hope goal was always to put out as much stuff people, when they hear the songs in the in a remote, but professional way. And format of the record, it gives them a betso, we did Limited Joy and I’d already ter appreciation for it. I think this record started working on Grieving Expectation.” flows really cool, and you don’t really Because some of the ideas for this re- understand how wacky and diverse it is until you listen to it back-to-back.” cord have been kicking around in Kay’s head since high school and some came While it flows nicely, it’s also a conflumore recently, the overall theme of the ence of many rivers. Each of the writers record is that there’s no theme. less of me controlling the wheel and letpoured their souls, like water, into the ting the team go at it. Everyone has their downstream current.

“Grieving Expectation is bangers,” Kays own signature.” continues. “Limited Joy was like a theme about, you know, your own mortality and “This would be the first record that really Kay learned a lot making this record. The was written by everybody,” Kay says. “I the blissful sadness of knowing you’re wrote songs and framework and stuff, Solutions provided a lot of input and, gonna die. And then this one is a lot more well, solutions. but there was a massive editing process of like, let’s put bangers, we’ll do the next in this one. Jacob (Horn) started writing one with a theme.” a couple songs, and then Joram (Zbi- “They kind of exploded on this record, with all of their contributions and really chorski) was a massive editor. And so is Not being able to consistently tour hasn’t taught me to just let go,” he says. “And Ryan. And then the horns were coming stopped the band from incorporating that’s what really helped with this record up with their own parts a lot. It was a lot this new music into their set, and half the

G re y h a v e n

PHOTO Alan Snodgrass

for my mentality. I made the band, all of them, write and step up and be cool. And then it led to this. There’s seven of us. It’s nuts. We added a member recently, like masochists.”

With all that going on from a massive cast of players, Kay says they manage to keep it simple somehow, “We didn’t over-write for this one. This one just kind of came in as stuff came in as we were working on it.” 💣

PHOTO Cam Evans

INTERVIEW WITH VOCALIST BRENT MILLS BY NICHOLAS SENIOR

C

in there and have to start unpacking oming up with truly great ideas is it all and assessing it, and looking at it hard enough, but making all kinds of excellent concepts come to- objectively. That’s when all of the songs start really making sense.” gether in some coherent fashion? That’s practically unattainable. Well don’t tell progressive post-hardcore act Greyhav- “It’s funny,” he adds,” “because it’s coming out of this whirlwind of ideas, like en, who yet again prove the impossible this idea pool. So, it really means a lot possible on their sophomore release. that you say that, because sometimes we’re not sure if we pulled it off or not.

This Bright and Beautiful World, out April Especially with this record, we’ve been 15 via Equal Vision Records, is a doubling sitting on it for, like, a year. I’ve listened down of everything that made debut Empty Black so special. The creative well- to it way too many times, and I go back spring of ideas is deeper than Lake Mich- and forth between, ‘Oh, I’m really, really stoked on this,’ or, ‘Are people going to igan: you want grunge? Check. You want fucking completely hate this record and the most bewitching stoner-core this side of He Is Legend? Discount Double Check. not understand it at all?’ I have no idea.”

You want a whirlpool of technical riffs Ironically, the key to the band’s success and stadium-sized hooks not heard since is focus—both to their brand of whatev- the same page and excited and really Letlive? Oh, hell yeah. er-happens-happens-core and to each floored about the band that us four This Bright and Beautiful World is a mod- other, as Mills acknowledges: together have ever been. (For us) there ern classic because it somehow does was a little bit of a positive that came so many unique ideas to perfection, “It has been interesting through the last out of sitting at home and having to wait few years, especially with restarting with sometimes in the same song. That kind and having to put everything on pause (guitarist) Nick (Spencer) and (drummer) of kinetic creativity is a clear goal, as and really having to sit on it for a minute.

Ethan (Spray) and COVID the last two vocalist Brent Mills notes: Because now that it’s finally rolling out, it years, like really having to assess why we just feels so fucking good, and I think it “That’s just kind of what we want to do, do this. And do we still all believe in this has made for a better record because … the same way? And are we really going to you’re right. We don’t know what we we really, all four, got to really be handsput everything that we have in ourselves want to do (laughs). It’s not like we’re on with it.” into this thing? Because it’s the only way sitting here going, ‘We should do a fast that it’s going to work. But especially with “We have this thing. We have this kind of song into this grunge song.’ We just COVID, it can get pretty discouraging.” write so much. There’s so many riffs running joke where I love comedy. I love that are getting thrown around when doing bits and stuff, just with your friends, we get to the studio that when we get “But it was the most connected and on just any kind of bit or whatever. And

when someone meets you there and joins in on it, and you kind of riff on a bit for a while, nothing feels better than connecting with someone like that, especially if you’re getting to know someone... Or alternatively, you know someone so long that you get into a bit like that, and you could just drag it out forever. So, we have this joke, like, commit. Commit to the bit.

And with music, we kind of do that too where it’s like if we’re going to do something this energetic, let’s really go for it. If we’re going to write a rock song,” he goes on, “let’s not throw a breakdown in it, ruin the fucking song. Let’s commit to the bit, like we’re going to play this part for this thing, for this moment.” 💣

NEW NOISE 13

TWO AS ONE

King Hannah INTERVIEW WITH HANNAH MERRICK AND CRAIG WHITTLE

BY CALEB R. NEWTON

I

’m Not Sorry, I Was Just Being Me—the debut full-length album from the Liverpool, U.K.-based duo King Hannah, out now via City Slang—feels like settling into a quiet, late-night bar scene to take in the sounds of a band that you’ve known for a while. There’s a nearly instant sense of warm familiarity that pervades the band’s music, which runs on the power of swaggering rock while presenting an expansive, lush atmosphere.

“Craig and I—you can hear both of us on all the tracks,” the duo’s Hannah Merrick shares. “There’s so much passion and honesty in it, isn’t there?”

Whittle agrees, “It’s quite nerve-wracking to finish something, and then that be it,” he says. “And we always want to push ourselves. We’re just excited now to go on to the next thing. I think we’re always thinking ahead. But obviously, we’re really excited for it to be out for people to hear it. The music we make is very personal because the music we love listening to is very personal, and it’s nice to know that our personalities and stuff come across, or hopefully they do, in it.

“Musically, we love that sort of nostalgic

ADULT. A

DULT. (duo and partners Nicola Kuperus and Adam Lee Miller) say their newest LP, Becoming Undone, was borne from loss: loss of an album and tour in 2020 (their last record, Perception is/as/of Deception, came out in April 2020) and the loss of Nicola’s father, with the couple acting as his hospice caretakers.

“When you take someone, literally, to their last breath, it really puts things in perspective,” Miller says. “That doesn’t mean it doesn’t take a toll on you, but it makes you go, ‘You know, this art is super important for us. We believe in it all.’”

ADULT.’s sound has never been easy to categorize, the newest LP arguably their most non-conformist, out the gate resonating fully in the backdrop in which it was created: unprecedented isolation and grief.

“With the lyrics or the themes—there’s a lot that deals with cultural breakdown, obsessions, and purpose,” Kuperus says.

“I would say that one thing we feel like this album is different from a lot of the other stuff, it’s a lot more dissonant. There’s not a lot of melodies, so to speak.”

On Becoming Undone, they deal with liminality, a state of transition, more than ever before: “You’re born, then you’re liminal, and then you’re dead,” Miller says.

14 NEW NOISE

feel, don’t we? And I think that helps to bring the most out of what Hannah is writing as well, lyric-wise. We want it to sound like we’re in a little room together making this music, that if anyone else was in that room, we wouldn’t be able to make. So, it’s nice that that comes across.”

the first idea you have is the best idea, isn’t it? Usually. So, we try to stick to that as much as we can. Wherever your instinct sort of naturally takes you to with a song is usually the best.”

pared the invigorating rock experience down to something quieter but remarkably powerful. The duo cites musician Bill Callahan as a particular inspiration.

Ultimately, the journey centers on the “(Callahan) writes what he wants to write, or at least it comes across free-flowing, personal expression that defines the music of King Hannah, that way,” Merrick observes. “None of those songs sound forced, or like which is richly textured and pulsing he wrote it because he thought he with sweltering energy even while drawing you in. It’s not solely shoegaze, should have to write it because he needs to make the money or someeven if such a thing seems suggested thing. He’s writing what he loves. And by the enveloping tones of the band’s it wins, doesn’t it? Every time.” 💣 music. Rather, King Hannah have

Merrick adds: “We just love the stuff to sound real. And I think that’s always going to make it sound honest.”

PHOTO Katie Silvester

Tone-wise, it’s often fairly mellow, yet the songs remain pointed, building up to the remarkably triumphant ending of album closer, “It’s Me and You, Kid,” with flowing rhythms that feel like a sonic expression of falling into life’s waiting arms. Elsewhere on the album, the rock ‘n’ roll side of the palette with which King Hannah perform gets excitingly intense, like a controlled burn put to music.

Merrick and Whittle explain their creative process as hinging in part on intuition.

“We try to follow our instincts a lot, don’t we?” Whittle shares. “Especially when it comes to—when you take it to the band meet, and you’re jamming it out. Usually,

INTERVIEW WITH PROJECT MASTERMINDS NICOLA KUPERUS AND ADAM LEE MILLER

BY KEEGAN WILLIAMS “That’s one way of looking at liminality, but the pandemic, that liminality we had to finally get comfortable with,” he says, nodding to his booking agents, who had to redo their tour process four separate times.

“So, if it’s not already hard enough to put those things out in the world, then put it out April 10, 2020, and into a void. It’s like, it didn’t go into a single record shop,” Kuperus says Miller chimes in, “There wasn’t a brick-and-mortar shop open in the entire world.”

Heading out on tour, they are not only sharing Becoming Undone, but also performing Perception for the first time, about a year and a half overdue, playing their first live show since quarantine in Chicago back in September.

“It felt like a total exorcism,” Kuperus recalls. “It was like, ‘What? How do we do this?’ And then it just felt, like, really like you just shed a layer of skin.”

“We were driving back to Detroit, which is about a five-hour drive, and Nicola kept saying, ‘I can drive,’ and I was like, ‘I’m so fucking happy; I got this. I can’t stop smiling,’” Miller adds.

It was a small festival and also the first time they got to see live music from bands

they admired. Miller says, “Being the spectacle and the spectator in one evening, after two years, it blows your mind.”

to look and sound more like ADULT. than they did before.”

“My number-one criteria when I’m looking at artwork, is I want to hear an individual The duo released their first single and video, “Fools (We Are…),” from the al- voice,” Miller says. “I want to see a language of vocabulary, that’s like looking bum in late 2021. I jested that hearing at a foreign language and takes me a Becoming Undone in full was a suitable minute to figure it out. When I saw that substitute for my morning coffee as I give up caffeine, referencing a com- comment, that’s how I saw it. I thought, ment from the music video I resonated ‘Oh, that’s so great, because it means that we have a vocabulary.’” 💣 with, saying the pair “always manage PHOTO Charlotte Chanler

THE UPSIDE OF DOWNTIME

Pile Of Love

to 15 people that were gonna be at the “Once we got to a place where we had six local show that you were gonna play on or seven songs that we could play pretty the weekend” Graham says. “It was super flawlessly from front to back we were like, maybe we should make a record, exciting to me because it was fresh, and it was a style of music that I never really and we should do it live. We should play INTERVIEW WITH GUITARIST RYAN GRAHAM BY JOHN SILVA tried to make before.” it like we’re playing now, capture that raw energy, and see what we get from it,” he pandemic has isolated so “Us four made it a weekly thing, every SatThe band’s self-titled debut release Graham says. urday, to get in a room and write a song many of us, confining us to our is crisp, poppy, and joyful as fuck. But and jam. It happened super organically homes and cutting us off from besides getting a good record out of the For the group of career musicians, Pile like that,” says guitarist Ryan Graham, some of our closest relationships. But experience, the group also gained someof Love became a return to their earliest who also plays in State Champs. it has also brought us closer to new thing else: close friends. Which, as lonely involvement with music. people. That’s how Pile of Love was as the world has been these past couple Initially, the group didn’t put stakes on formed. The super group, featuring years, is invaluable.

“This kinda felt like we were going back the project. It was an excuse to hang members of Drug Church, The Story to the beginning. When you first picked out with friends through the cathartic So Far, and State Champs, came up a guitar, and you were playing music “These guys, they weren’t my best friends,” release of music. When they began actogether in 2020 to fill some of the Graham says. “They became my best with your friends in your basement in cumulating songs, they started thinking downtime that came with cancelled friends during the process.” 💣 high school, hoping to impress the 10 about actually recording them. tours and quarantines.

T

PHOTO Ryan Scott Graham

Sarah Shook & the Disarmers INTERVIEW BY JOHN B. MOORE

S

arah Shook and her band The Disarmers had every intention of following up their brilliant 2018 record, Years, in 2020.

But the combination of a global pandemic and their label, Bloodshot Records, closing up shop shut down those plans pretty quickly.

new territory for me, and it was like some entire veil had been lifted. I could say ballsy shit like, ‘I got this,’ and it was actually true.”

And there are plenty of moments on this record that stem from very personal emotions but are bound to be felt by many of the listeners. To help shape the sound of Nightroamer, Shook worked with producer Pete Anderson, who is best known for his work with Dwight Yoakam and KD Lang— two other country-adjacent musicians who have been able to cobble together remarkably unique sounds.

“My mentality when we were recording Nightroamer was, ‘2020 is gonna be our year,’ Shook says. “A fall release in a normal world would have been ideal, but you gotta roll with the punches, as they say.”

“By the time we hit the studio, we have a pretty solid arrangement for each track,” So, roll they did, and though a tad bit Shook says. “I write the songs on my own, late, Nightroamer is well worth the wait. lyrics, melody, chord progression, initial Released on Abeyance Records and arrangement, then I take it to the band, Thirty Tigers, the long-overdue follow-up and we suss it out together with more ficontains some of Shook’s best writing nality. Pete took what we had and worked yet. It’s a remarkably compelling mix of in some incredible finishing touches. We country and Americana slathered in punk really enjoyed working with him.” rock swagger.

Outside of music, Shook, who identifies as “I don’t write a record, or write specifically genderqueer, has been a vocal advocate with a record in mind,” Shook says. “I write for LGBTQ and civil rights causes. She songs and then figure out which ones are has also opened up in the past about her going on the next album. The songs on struggles with depression. Asked if she Nightroamer were written over a span of ever regrets being so open, she answers about nine years, the majority being on with an emphatic no. the newer end of the spectrum, so I was listening to all sorts of stuff that decade.”

“I’m so grateful to be out, and I wouldn’t have it any other way,” Shook says. “If it “I’ve been sober a little over two years now, means someone feels less alone, espeand with that has come a lot of newness,” cially a young person, if it means a parent Shook continues. “Not feeling like a fuck- might challenge their own beliefs about up 100 percent of the time was certainly having a non-straight kid, if me being

out means even just one person might set aside homophobic beliefs or begin to think differently, that’s all I could ask for. When I was a teenager, a friend of mine was literally thrown out on the street when his ‘Christian’ parents discovered he was gay. He was 17. That shouldn’t happen to anybody, much less a teenager or a child.”

Bloodshot Records—the Chicago-based label that hosted a brilliant hybrid of country/punk bands for decades and which released the last Sarah Shook & The Disarmers album—was sold off earlier this year after the former co-owners parted ways, with accusations of sexual misconduct aimed at the partner of one of the label owners. The closing left some of the best contemporary artists in punk, country, and indie music scrambling for

new homes. Shook and her band were among them.

“A lot of things were figured out in motion, we’re so grateful to have landed a home with Thirty Tigers, but we’d really rather not go through that train wreck again if it can be helped,” Shook says. “Bloodshot Records was so good to us and has a special place in our hearts, always.”

Along with finishing up Nightroamer, Shook took advantage of the year or so off the road to record even more music.

“I actually wrote and recorded an entire solo album that’s dropping on Kill Rock Stars (in the) fall of 2022. Next year is gonna be something else, I got my seatbelt on.” 💣

PHOTO Harvey Robinson

NEW NOISE 15

TECHNICAL & ATMOSPHERIC

Divided Heaven INTERVIEW WITH KEYBOARD PLAYER, PIANIST, GUITARIST, VOCALIST, AND SONGWRITER JEFF BERMAN BY J. POET

The songs were written and recorded during the last two years. Berman says the situation ivided Heaven is the project of Jeff in the world affected his approach.

Berman, a singer, songwriter, and musician from Lancaster, Pennsylvania. He recently moved back to his “I wanted to make people uncomfortable and tap into the discontent of the culture hometown after beginning his career in wars. Before, I tried to keep songs purposeLos Angeles. fully ambiguous. This time I was specific about things that have happened, without “My wife and I bought a house just before the start of the pandemic,” Berman says. “Be- being overly literal. That’s why it’s an overdrive rock album. I wanted to show a bit fore we had any time to celebrate, we had more swagger.” to look for masks and hand sanitizer, and figure out how to get our stuff unpacked.”

Berman worked with a wide range of musicians and four producers, including Berman initiated the Divided Heaven name Charlie Stavish (Vacation Manor), Mike Biwhen he started playing shows as a singer ancaniello (Kelly Clarkson, Jordin Sparks), and songwriter. “I like the use of the word ‘heaven’ in a secular context. Divided Heav- Tim van Doorn (Tim Vantol, Joe McMahon), and songwriter and producer Frank Turner. en is an interesting title to use as an atheist.”

D

Berman played in a variety of punk bands before beginning to hone his songwriting chops and becoming a solo act. He evolved from a folkie to the leader of a punk-influenced trio. On Oblivion, his latest effort, out now on A-F Records, he’s shifted back to being a solo artist.

“I have had, at times, different groups of musicians I played with, but that went out the window because of moving back to Pennsylvania and working with four different producers. All the guitars, vocals, piano, and keyboard stuff was done by me. My piano playing has an urgency and rawness that worked for these songs. My last record (2018’s Cold War) was subdued and lighthearted. Oblivion is darker, more experimental and more political.”

misogyny, with words both explicit and oblique. The music is part dirge and part prayer for better things. “Monuments” is a subtle rocker, questioning the reluctance of many Americans to confront the problems facing the current generation.

to the suffering of their constituents. “This is the fourth Divided Heaven record, Berman’s tortured vocal calls out for the not counting EPs,” Berman says. “Some justice he fears will never come. people tell me my first album was better but, as an artist, I need to be objective. If Atmospheric notes from a grand piano I didn’t think Oblivion was the best one I’d introduces “Reckoning.” Berman’s ghostly ever made, I’d put it in the vaults and come vocal describes our society’s cultural back to it in my old age.” 💣 PHOTO Kate Warrick

They all took a different approach. “Mike didn’t want to hear anything. We just plugged in and crafted the songs as we went along. With Charlie and Tim, it was more traditional. I sent them fleshed out demos and did a bit of pre-production before setting foot in the studio. We layered on top of what I had, finding the balance between new ideas and what I brought in. With Frank, it was all through email. That forced us to be more articulate with our ideas. I think that benefitted the songs he produced.”

The inventive arrangements give the songs on Oblivion the punch Berman was seeking.

Brittle acoustic guitar and a mid-tempo drum beat open “Poisoned Our Fathers,” an indictment of politicians indifferent

Kevin Parallax INTERVIEW BY ADDISON HERRON-WHEELER

K

nown for a focus on musicianship and a unique mastery of guitarwork, Kevin Parallax has recently released a new single, “Perplexing Emotions.”

When he talks about the inspiration behind the song, he goes back to his very early roots.

“I first started taking guitar lessons at the age of 16, inspired by the likes of John Petrucci, Jason Becker, Marty Friedman, and other musicians, and continued to further hone my skills learning from senior musicians in the vicinity. I applied for and got accepted to Musician’s Institute, Hollywood, and that is when my life took a turn. Education abroad was out of my financial grasp, which is why I had to entirely reconsider my plans for the future.”

Just when Parallax was about to give up, he received a letter from the school announcing he won two scholarships, which cut his tuition and made it possible to attend. Still, things weren’t easy.

“I flew to the United States with no finan-

16 NEW NOISE

cial planning or backup whatsoever except hope and had to jump through a lot of hurdles to be where I am today.”

On his latest release, Perplexing Emotions, out now, he leans on his technical skill to create an instrumental track that is brought to life by the vibrant art that accompanies the song.

“I had never written through-composed music with such complex use of theoretical knowledge before Perplexing Emotion, and I tackled writer’s block several times and had to leave behind many riffs and parts just because they didn’t sit well in the composition,” he says. “After I laid down the guitar parts, Rahul Hariharan proceeded with recording drums over it followed by Ashwin, who later recorded bass parts, partially layered the song with synth work, mixed, and mastered it.

As he wrote the guitar parts, his specialty, Parallax also programmed a drum track.

Though his standards for drumming were high, Hariharan impressed him with his perfect, creative rendition of the Kevin Parallax vision. 💣

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INTERVIEW WITH BODY VOID BY ADDISON HERRON-WHEELER PHOTO Ben Collins

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etal and queer issues are literally my bread and butter, especially this year, so I was beyond thrilled when I landed an interview with the crushingly heavy Body Void for my first Fear of a Queer Planet column of the year.

in their music, channeling that bignoise vibe on their latest record, Bury Me Beneath This Rotting Earth, out last year. You can hear the pain and suffering inherent to the human race on the record, as well as the clear love for the music the band has.

punk scene there was much more queer, but we were always firmly part of the metal scene. I think if I presented more fem or was further along in my transition, my experience might have been different, but I can’t really speak to that fully.”

but the folks in Vile Creature were big inspirations,” says Ryan when asked about having someone to look up to in the scene. “It felt revelatory to see a metal band be so forward and open with their queerness. When their first album came out, it felt like the blueprint for a queer metal band, and it was a record that was really important to me in my gender transition.”

For those not familiar, get familiar. I “It started as just three people jam- “I’m now based in New England, was introduced to Body Void when I ming together and then grew from and the scene here feels more saw them opening for Uniform and there,” Ryan explains. “We kind of fig- queer-friendly, just because there Portrayal of Guilt, and was immedi- ured things out as we went. The lyrics are more bands with queer and ately filled with euphoria seeing a mostly deal with broader political trans people in them. I feel like I don’t Of course, there is no easy answer band on stage who looked openly topics, but written in a personal, vis- know as many bands that are all cis- to increase diversity in the metal queer, but who were also playing ceral way. The last album was about het men as I did in the Bay Area.” scene and get rid of prejudice and such a painfully sludgy and brutal how capitalism and white supremhomophobia, but Ryan thinks that blend of doom that I would’ve been acy are killing the planet, but I tried While queer acceptance seems to be standing up and banding together is intrigued no matter what the band to write using imagery that would less of an issue—some places, and a good first step in the right direction. looked like. hopefully make an impact and stick for some folks, the massive racism, with people.” sexism, and homophobia problem in “I think metal just needs to not treat “Metal first really appealed to me metal still looms large—Ryan’s expe- queer artists’ and fans’ concerns from a purely sonic standpoint,” says When it comes to acceptance, like rience largely mirrors my own, in that as secondary or ancillary to metal Willow Ryan (they/them), guitarist most metalheads, they report feeling they didn’t experience prejudice, but at large,” they explain. “Honestly, and vocalist. “I listened to a lot of mostly good experiences, but also a they did notice a lack of other queer the more queer people there are noise and improvised music early sense of isolation that comes from folks in their spaces. It is still rare to in the scene, the better off we are. on that achieved that kind of heavy, not having a strength in numbers. walk into an extreme metal show and Putting queer bands on shows, tours, overwhelming, wall-of-sound effect. see a woman, or an openly queer and festivals and not dismissing us I was really obsessed with that sound “My local scene changed within the person, or person of color, on stage, when we encounter homophobia or and the feelings of chaos and disori- last couple years,” they say. “I used hence why I got excited to see Body transphobia. Treating those things entation. Metal, specifically doom to be based in the Bay Area in Cali- Void in the first place. as ongoing threats to the health of metal, felt like it occupied that space fornia and found it pretty welcoming. the metal scene, along with racism on a very specific end of the sonic Early on, it felt like people were But despite this lack of representa- and misogyny, and expelling bigots spectrum where something could be really learning the language and just tion, there are some beacons who whenever they show themselves. I slow but still chaotic and pulverizing. how to be accepting of queer folks, stand out and provide that sense of know many straight allies who are on I was obsessed with that and still am.” but the scene was still mostly cishet fitting in. top of this stuff, and beyond it being encouraging, it just makes our job people, even by the time I left. I felt Body Void embody such a sound accepted, but a little isolated. The “‘Role model’ isn’t quite the right word, easier.” 💣💣💣

18 NEW NOISE

PHOTO Jay Nel-McIntosh

FIRE IN THE MOUNTAINS INTERVIEW WITH FOUNDER AND CO-OWNER ALEX FEHER BY ADDISON HERRON-WHEELER

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f you’ve never experienced the wonder and unity that is Fire in the Mountains, this should definitely be the year you change that.

Like everything else, FITM was set to pop off in a serious way after 2019’s amazing, epic fest, and then the brakes were put on. Now, they’re back and better than ever, boasting such impressive names on the bill as Emma Ruth Rundle, Wolves in the Throne Room, Enslaved, and Yob. “Jeremy (Walker, co-founder and owner) and I started Fire in the Mountains because we basically just wanted to create the ultimate festival we would love to go to and bring people to our home to show off how much we love this place,” co-founder and owner Alex Feher says about the unique, outdoor Wyoming festival. “With each year that goes by, it seems we’re able to bite off a little more and accomplish that on a scale we could have never imagined.

20 NEW NOISE

The all-encompassing festival itself is going to create a pretty amazing feeling for people.”

are, as well as some more surprises to be announced. Jonas Lorentzen, formerly of Heilung, will also be at the fest in the capacity of official chef, preparing dishes from food that Feher, a farmer, has grown or raised.

And the fest truly does create a whole feeling. In addition to the awesome music and the chance to either camp or get a room on the ranch “We’re also doing a scholarship for the where it takes place, there are a lot first time this year,” Feher adds. “We’re of other things to take part in as well. offering 25 recipients the chance to There are presentations and classes, come to the festival on us. They have and attendees will take a mandato- to pay for travel, but this is great for ry bear safety class, which is a lot those who have been strapped due more fun than it may sound, since to COVID. We’re going to be rehabilithe fest takes place in the middle of tating the river that runs through where a national forest. the festival grounds are, and if you’re willing to help, you can get a scholarThis year’s presenters and lecturers ship to come for free.” include an Incan Shaman, a Lakota elder to speak and perform a cere- So yes, definitely more than just a fesmony, a woman who leads medita- tival. The commitment to community tion to metal music, someone who education and giving back to nature teaches primitive skills, herbalists is the backbone of the event. leading a wildflower walk, a Nordic studies professor delving into how “A big ethic for Fire in the Mountains authentic Viking tattoos actually is to be an environmental organiza-

tion as well,” Feher continues. “We’re trying to be a regenerative force both as a business and just with our overall impact on the land. There’s this notion of, we need to reduce our footprint, like we’re just inherently bad, and it’s like no, fuck that. People are great, and we need to leave a really big, positive imprint and footprint on the earth as individuals and collectively. We’re going to start doing more initiatives like the river restoration scholarship in the future to get people involved and to offer something cool to participants for work training, make the land better off than it was when we got here.”

Mark your calendars now for Fire in the Mountains, happening July 22 through 24 at the Heart Six Ranch in Teton Wilderness, and grab tickets now. Get ready to headbang, give back to the earth, and get into the spirit of the wild. 💣💣💣

BOOK SPOTLIGHT

CRISIX SPEED METAL KITCHEN OF DOOM INTERVIEW WITH BASSIST PLA VINESEIRO

BY ADDISON HERRON-WHEELER

PHOTO Victor Gomez

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ears of thrash greats, from Spain, as well as their own line of hot the original godfathers to sauces. Throughout all of this content throwback kings like Munici- creation, the goal was simple: to pal Waste, have taught us one thing: spread the joy of metal and food to pizza and metal go together like their fans. blast beats and heavy riffs, like hightop sneakers and a good pair of jeans. “One of my favorite recipes comes Spanish thrash legends Crisix appre- from my grandma’s recipe reperciate that connection, so much so that toire, and we all contributed ideas they released a cookbook detailing and recipes to the book,” Vineseiro pizza and other metal-ready recipes. says. “We have a song called ‘Rise and Rest,’ and it got turned into a “When we came up with the idea for recipe for rice. We also shared things The Pizza EP, we were very inspired we’ve tried from all over, because because our guitarist was a pizza here in Europe, there are so many delivery guy when the band started,” different cultures. Maybe you play bassist and food enthusiast Pla Vi- in France for a couple of days, and neseiro says. “He was always telling then tomorrow, you’ll be in Austria stories to us, so we kind of made a or Germany, and the food changes song out of it, then that evolved to a completely. It’s such a colorful unilittle movie with video clips. We talk verse of food that I think people will food a lot on the road, and we always find amazing.” look forward to going to different countries and trying different types of Look for the cookbook, hot sauce, food. So, it just made sense for us to put game, and everything else from the out something about food, how we eat Crisix universe, including more music on the road, and what we like to cook.” coming soon. And if you’re lucky enough to live in Spain, look for a In addition to the EP, cookbook, and new deep-dish pizza from the band. associated videos, the band have As Vineseiro explains, “Most people also released an old-school video here don’t know about the deep-dish game in which you can live their pizza style.” delivery fantasy. And to complete the circle, they’ve even released some The pizza gospel needs to keep of their own pizzas, available only in spreading. 💣💣💣

22 NEW NOISE

PRODUCER SPOTLIGHT

SETH MANCHESTER

BY MARIKA ZORZI

T

wenty-twenty-one was undoubtedly the year of Seth Manchester.

The producer and sound engineer recorded and mixed more than 30 albums at his studio, Machines with Magnets, in Pawtucket, Rhode Island.

The Body, BIG/BRAVE, Hide, Lingua Ignota, and Full of Hell are just a few of the bands that have released an album in the past 12 months that was recorded at Machines with Magnets, joining a long list of bands Manchester has worked with over the past 20 years.

“I grew up in a recording studio,” Manchester says. “When I was a kid, I had a four-track and recorded people in my parent’s basement, like my friend’s

24 NEW NOISE

bands, and I never really got another job. I was 20 when I met Keith Souza and I started working with Keith in 2003 as an assistant, we kind of became collaborators and we would just work on stuff together. Keith started it in 1999, in a different location—it was much smaller, all analogue, kind of a DIY setup. When we moved to the Pawtucket studio, we kind of stepped it up, and made it more of a commercial studio. I became the Pro Tools guy, and because of that, it cemented me a position at the studio.

That was my in-road.”

This new version of Machines with Magnets opened in 2006, where it still is today. The building houses not only

a full-fledged recording studio, but an “I would be bored if I just sat there and art gallery and a performance space, did the same old thing all the time, for every project I try to approach somecomplete with a full bar. thing differently,” Manchester says.

“The place is kind of like a community “Machines with Magnets historically was space, we have a venue, and a bar and an analog studio and then when we transitioned it changed, but it still is a a gallery—it’s been a big part of the Providence community for some time,” very hybrid set up. I’m always interested in pushing pieces of equipment and Manchester explains. “Providence has historically been renowned for having a pushing space, in really fucked up ways, I’m trying to always overdrive all my lot of DIY spaces, like warehouse spaces gears to see how it sounds, just try stuff, that come and go.” and it’s more fun to me to do that in the Manchester has always been part of outside tactile world than it is to do in a the Providence music scene. “I grew up computer, but sometimes I am also very interested in emerging technology.”

30 minutes outside Providence. In the late ‘90s, early 2000s, there was a very prominent noise rock scene. It all kind During his 20-year career, many artists of split out from this place called Fort have decided to return to work with Manchester for his unusual approach Thunder where the Lightning Bolt guys lived in the ‘90s. And I think around that and the friendship that he is keen to time, in 2001 maybe, The Body had just create. moved to Providence and I met Lee and Chip maybe in around 2003, and would “It’s about building communities,” he says.

“I mean there’s so many weird, intercongo to shows they were playing.” nected relationships. Most of the people “Providence music probably influenced I work with, especially these days, are me more than other cities. It’s funny how my friends, or have become my friends through the record-making process, I’ve never really been a metal person even though I tend to record a lot of and I think that’s often why people metal, I grew up going to these weirdo come back to make their second record, noise, art rock shows, not really metal or their third record. I keep working with people who are nice, inspire me, shows—the thing about Providence is that you had bands like Dropdead that respect my ideas. If people are nice to would be on a bill with a band like Light- you, respect you and what you are doning Bolt, it would just be a different mix.” ing, that’s what really matters to me.” 💣

I

n a world where thrifting seems to be more in the forefront of culture than ever before, Cruel World looks to specifically center queer and trans people in vintage with their collection. It began back in 2018 as an online passion project and creative outlet for owner-operator Caro, who didn’t see himself represented in fashion as a mixed, Chicano queer.

INTERVIEW WITH OWNER AND OPERATOR CARO

BY KEEGAN WILLIAMS

“Working in vintage shops throughout my 20s, I would dream about having my own shop,” Caro says. “I was thinking a lot about design, inventory, aesthetic, but less about community and inclusivity. At that point, I wasn’t thinking beyond my own needs and desires for a space. Then, once I started vending and doing pop ups, I grew out of that mentality.”

What started as a gender-expansive space, creating an accessible spot to access an array of vintage clothing, steadily grew, with Caro navigating to work on Cruel World full time in the summer of 2019, now with his own studio in a warehouse open to private shopping.

And, clearly, the representation Cruel World create was needed.

“It’s been overwhelmingly positive,” he says. “I get a lot more support than I sometimes feel I deserve, but

26 NEW NOISE

it’s been very cool to have the level of loyalty that my shop receives.”

Of course, he still works hard, but he says the project has been a huge honor, sometimes sourcing an entirely new wardrobe for someone, especially folks who might be transitioning or shifting their gender expression.

“Some people may not realize this, but queers have been buying and selling vintage and antiques forever.

We’ve historically had to be resourceful in the ways that we express ourselves,” he says, adding that it’s all the more important to provide these spaces given the amount of extremely cis/straight-male-dominated vintage spaces.

“I’ve witnessed a lot of casual homophobia and transphobia in these kinds of spaces. But within the queer communities, there is a different set of expectations for how we make a space accessible to our community.”

Caro is looking to open a brick-andmortar store in Philadelphia in the future, but until then, he’s hoping to do some pop-ups in different cities, ideally something back in his home state of California.

Caro adds, “I still have to work hard, but it usually pays off.” 💣💣💣

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“A LOT OF THE SCHOOLING WE GOT WAS INDOCTRINATION, MAKING INDIGENOUS CULTURE SEEM AS IF IT ONLY EXISTED IN THE PAST.”

OMBIIGIZI

PHOTO Rima Sater

INTERVIEW WITH GUITARIST, BASSIST, VOCALIST, AND PIANIST DANIEL MONKMAN AND GUITARIST, BASSIS, VOCALIST, AND SYNTH PLAYER ADAM STURGEON BY J. POET

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n Ombiigizi’s debut, Sewn Back Together, the Canadian band’s songwriters and vocalists Daniel Monkman and Adam Sturgeon move away from their post-punk roots, leaving behind the distortion and overwhelming volume of their previous efforts. Monkman previously fronted Zoon, a shoegaze band that featured elements drawn from his Native background that he dubbed ‘moccasin-gaze.’ Sturgeon’s band, Status/Non-Status, played their own style of indie rock, with lyrics that referenced the political difficulties faced by Indigenous Canadians.

“The album title represents our coming together with our Anishinaabe roots and community,” Sturgeon says.

“Dan and I wanted to create a representation of our family histories and reconnect to our culture.

“A lot of the schooling we got was indoctrination, making Indigenous culture seem as if it only existed in the past,” he says. “They never talked about what we were doing now. They

28 NEW NOISE

always spoke about us in the past you’d have to spell out for non-Indig- Monkman says the songs were written tense, but our past, present, and enous people.” and recorded during the last year’s future are of a whole piece. Sewing COVID lockdown. it back together means a reclaiming The songs on Sewn Back Together of our roots, our history. Ombiigizi reference the history of Canada’s “Leading up to the session, Adam and translates as ‘to be noisy,’ but we First Nations population. The music is I spoke on the phone and sent each actually stripped away the feedback guitar heavy folk rock, with political other demos with ideas about the and instrumental smashing we did in lyrics delivered with a poetic nuance. musical visions we had. We made our other bands.”

“Ogiin (Mother/Caregiver)” is driven some demos, but in the studio, our by acoustic guitars and a rolling producer, Kevin Drew (Broken Social Monkman and Sturgeon have been drumbeat. Monkman and Sturgeon Scene) helped us choose what to use professionals for a long time, but sing high harmonies in praise of and not use.” both mentioned the problems often parents who provide unconditional confronted playing in bands with support through trying times.

Sturgeon continues, “We all wore non-Native musicians. masks and things went fast. We did Hard rock guitars and a driving back- some spontaneous songwriting “In the indie rock scene we were in, beat, with abrupt stops and starts, and arranging with our bandmates there were only a few First Nation give way to cinematic keyboard (guitar, bass, and keyboard player bands,” Sturgeon says. “I wanted to textures on “Birch Bark Paper Trails.” Andrew McCloed and drummer Eric focus on myself, my family and the As the music swells, Sturgeon speaks Lourenco) in the studio. About half of stories that are being told about our softly to provide a condensed history the songs were created on the spot, history in Canada. It’s sometimes of Canada’s Indigenous population, including lyrics and music. If Eric difficult with non-Native people in from forced migrations to tribal dis- played a beat we liked, it became a the band. When I got together with integration and loss of identity due to song. We started jamming and figurDaniel we created a safe space to forced assimilation. “Yaweh” is sung ing things out, not knowing where we tell our stories. There are three Na- in the Cherokee language. The duo’s were going, each of us finding our tive people in the band right now, so harmonies join with soothing synthe- sweet spots in every song. It was all there are things we don’t have to say sizer washes and a quiet drum beat in the moment, with each song taking to each other when we play. Things for a chant of thanksgiving. on its own life.”💣💣💣

Rolo Tomassi INTERVIEW WITH VOCALIST EVA KORMAN AND KEYBOARDIST AND VOCALIST JAMES SPENCE BY CALEB R. NEWTON

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here Myth Becomes Memory, “I felt like with this one, I approached the newest full-length album it in more of an explorative way from the U.K./U.S.-based than a reflective way, in terms of metal group Rolo Tomassi—available what I was writing. I wanted to make this February from MNRK—makes sure that if I was kind of bringing the ethereal into something strikingly anything up, it was just coming from personal, like suddenly becoming a better place. Because I felt like, awash with otherworldly light. From when it comes to writing, you put so there, it’s remarkably intense, sug- much of yourself into it, you kind of gesting a startlingly majestic expanse need to leave some behind.” behind the band’s creations.

Where Myth Becomes Memory sports The album charts the experience of rich textures, abruptly shifting walking into an all-enveloping space. between jarring metallic hardcore It’s ominous, but promising, like drift- (or whatever your preferred term ing—or getting rocketed—through may be) and atmosphere-oriented the expanse, instead of becoming passages that only further fire up consumed by it. the passion. The earnest, compelling energy flows through the entire “I had felt after the last record, the journey, making the whole thing feel process of actually writing it was like a revelation. very emotional,” vocalist Eva Korman shares. “It was very painful. I wanted “As someone that writes keys and to just make sure that going into this piano, the majority of the music that one, I didn’t put myself through that I listened to, and am listening to now, same thing, with being reflective in it’s still really heavily piano-focused,” writing and having that weight of it keyboardist and vocalist James affecting me so much.

Spence says. “It’s about finding a

way that I can kind of write that in, music. You could imagine standing and make it sound like it belongs in on the precipice with this music— a Rolo Tomassi record. And that’s putting yourself on a high, isolated kind of the challenge: it’s making cliffside against the brunt of an the music sound honest to what you oncoming storm, and finding that like, whilst also sort of holding on to you can make it. the identity that we’ve already built.

I think that’s kind of what I always “I feel like I really did want the record want to do. I always want for it to to come across a bit brighter and grow and for it to keep sounding more optimistic,” Korman shares. “I interesting. But it needs to sound like think the dynamics of it feel quite us still, as well.” dark, but when it came to the end of writing it, I definitely felt a lightness.

Rolo Tomassi implemented promi- And I think the closing track really nent, lighter moments on previous does express that as well. material, and Spence adds that the band were “delighted and boosted “It’s definitely a cathartic process for by the reaction that it got that it just me to write; I feel like it’s getting a lot gave us the confidence to push that off my chest. I think it’s putting a lot element and that side of the band out there. This record, in particular, even more.” was kind of a bit of a journey. I feel like it was exploring in that—whether There’s a thread of epicness—a it was the way that we were writing or look into the sunrise, so to speak—in the approach that I took with it, which Where Myth Becomes Memory. The was being more looking forward, sometimes-galloping trek is exhil- where am I right now. I’m not looking arating, thanks to the sheer rush of back to what happened and what the multifaceted and unpredictable I’ve been through.” 💣💣💣

PHOTO A. Ford

NEW NOISE

29

PHOTO Alan Snodgrass

ZEAL& ARDOR INTERVIEW WITH PROJECT MASTERMIND MANUEL GAGNEUX BY THOMAS PIZZOLA

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“I don’t think that people who don’t like my music listen to my music. Consequently, I care about them as little as they do.

It’s funny how black metal has turned from the most free and radical music into a set of rules to strictly act by. Seems a bit counterproductive, but what do I know?” he says.

hen Manuel Gagneux first “It all came as an immense surprise. He had a plan for this album and came up with the music for Having started this project alone stuck to it. The results are in the mu- Though he has an even more interZeal & Ardor, he was just in a basement basically just for sic and lyrics contained in it. esting take on established black trying to win an internet “bet,” myself and now getting to play metal musicians supporting his where somebody said they bet he in front of ridiculous amounts of “I just wanted to dial in on what the subversive art. couldn’t create a band that com- people is surreal. Of course, I nev- project is all about, cut away the bined black metal with African er thought we’d reach this scale, fat and elaborate on what works. “I’m certain there are, but they American spirituals and the blues. but I think it is because of and not Lyrically, it’s a continuation of the have yet to come forward publicly.

Well, this anonymous internet troll in spite of our origins. Zeal & Ardor alternate history narrative we have And I’m not going to potentially underestimated Gagneux’s talent, is the music I like to make for my- going on—what if American slaves libel their name in an attempt for because when Devil Is Fine, the self, so there’s no pandering to an had turned to Satan instead of self-promotion,” he says. first album under the Zeal & Ardor audience. Maybe people pick up God?” Gagneux says. “Where Devil name, hit the internet, it became on that emotionality of it. Maybe Is Fine was about life in captivity, So, from a solo basement project a sensation, leading to a deal with that’s the reason we got to exist and Stranger Fruit was about the es- to a well-established, internationMVKA Records. this long,” Gagneux says. cape, this record is about the many ally touring band, with three killer things that come after. Being on the albums to their name, Zeal & ArThe label re-released the debut The new album is another incredi- run, clandestine ruminations, and dor have stuck to their vision, and album in 2016, along with follow ble slice of the band’s unique sound. grand plans.” it has paid dividends. It seems like up, Stranger Fruit (2018), and an EP, Gagneux says this is not by accident. the sky’s the limit for them.

Wake Of A Nation (2020). Touring Of course, whenever you deal in commitments and the formation of “For the first time, we had ample black metal, especially black metal There is no end in sight. Or is there? actual band to honor those com- time to think about what we wanted that pushes the boundaries of what mitments followed (originally, the to sound like. The songs on the first black metal could be, there tends to “As of now I do not see an end. But, project was the sole endeavor of two albums were all written fairly be some pushback from a certain seeing how this all came together Gagneux). close to one another. I think we got faction of the metal underground so quickly, I have no illusions to the point where I imagined the that wants to keep everything “trve” about it lasting forever either.

Now, Z&A is set to release their third project being sonically here. That’s and “kvlt” while not allowing for any We’re happy to do what we do, album, simply titled Zeal & Ardor. why it’s self-titled. It’s still eclectic sort of sonic progress. but we are also very aware that From solo project to fully functioning but maintains a coherent atmowe are lucky to be here,” Gagneux band, soon with three albums under sphere. Basically, the Zeal & Ardor Gagneux has a pretty hot take on concludes. 💣💣💣 their belt, it’s been quite the ride. mood throughout,” Gagneux says. those sorts of people.

30 NEW NOISE

ABBATH

PHOTO James Alvarez

INTERVIEW WITH PROJECT MASTERMIND ABBATH DOOM OCCULTA BY ADDISON HERRON-WHEELER

G

lamour. Speed. Satan. These three things and more sum up black metal powerhouse and project mastermind Abbath Doom Occulta, who has been doing his own thing musically for three albums now. Dread Reaver is full of tracks that take the heaviness of previous Abbath offerings to the next level. Songs like “The Deep Unbound” and “Acid Haze” both challenge listeners to rethink the artist, and also challenge the limits of the art. The nods to ancient symbolism and imagery further elevate the message.

traveling around before we get to play the songs, but this time, we were able to do it a little bit differently.”

That’s not to say that everything was easy for Abbath during the pandemic.

In addition to the obvious lack of touring and live shows, recording looked a little different as well, but ended up being an overall a good experience, nonetheless.

And while he has a few plans for European shows, he’s holding off on locking in any major plans for touring until everything looks a little clearer.

Not sure what to expect talking to such “We’re definitely going to play shows, but we’re holding off until things are a little an esteemed metal guru, I’m delighted to report Abbath is a bit like an evil San- more sure,” he explains. “And do I want to make another record in my lifetime? ta: jolly, loud, laughing, and not taking Of course. I’ve been doing this for 40 himself too seriously. After joking a bit years, and it’s pretty much my main (or laughing at his jokes), we got down thing at this point. I’m going to keep to business. doing it.”

“The pandemic took away touring, but this time, we got to play the songs to- He also mentions the last tour being difgether before we moved to the studio,” ferent, as he was sober on the last tour, he explained about the process of writ- laughing as he tells the story. But does ing on their latest record, Dread Reaver, he plan to stay that way? out March 25 via Season of Mist. “Usually we’re on tour, on a 45-minute flight, “Next question,” he laughs. 💣

HAMMERFALL INTERVIEW WITH GUITARIST AND VOCALIST OSCAR DRONJAK BY ADDISON HERRON-WHEELER

H

ammerFall have had quite a prolific career. They’ve been releasing epic music since 1997, with no signs of slowing down. Like many

PHOTO Tallee Savage

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bands, their 2022 record, Hammer of Dawn, out now via Napalm Records, was both blessed with more lead time and cursed with some unexpected setbacks.

“The pandemic actually created a re- ally, because this one hasn’t come out yet, and we finished it quite early. So, ally relaxed atmosphere for recording, where we normally have a lead time of which meant that when we went to about three months from when we hand the studio, we were able to focus 100 in the final tape to the release, this time, percent on recording, and then go they required it to be five months, and home and spend time with our families, instead of being distracted by touring,” that was nice because we didn’t have to rush it.” vocalist and guitarist Oscar Dronjak explains. “That was really good for the Now though, after all that lead time, energy of the performance, in the guihe is eager for fans to listen to the new tars and the bass especially, because album. that’s what we could focus our peak energy on. We could peak our form we were actually recording, when the red “Five months is quite a long time to wait,” he jokes. “I want people to hear it. I’m light was shining.” ready for it to be out there in the world.”

For Hammer of Dawn, the band truly In terms of touring, Dronjak echoes a held nothing back, pouring ferocity similar sentiment to his feeling about and melody into the record and makthe next record. ing it feel like a refresher of the bands’ sound and mission. When it comes to the next record, while there is definite- “Well, we have plans, of course, for North America this year, but it all dely opportunity on the horizon, Dronjak pends on the pandemic.” wants to remain grounded while the world is still so uncertain.

Whatever their plans, HammerFall will no doubt continue to crush it. Until “It all depends on when we can get then, spin the new record and show back on the road,” he explains. “I’m some love. 💣 not thinking about the new album, re-

ALLEGAEON

PHOTO Caleb Dane Young

pandemic changing everything and than the concept was reinforced by kind of putting everybody’s lives into the way each of the humans in Althese weird tailspins, we were all legaeon had a hand in the album’s Vocalist Riley McShane says, “I in a place where it just felt kind of creation: appreciate that a lot. It means a tone deaf to be like, ‘Hey, let’s write lot that that’s what you are taking a science album, guys.’ Not only that, “This was also the first album that from it, because that’s definitely but it just felt a little disingenuous for we all had a hand in the music. In what was intended. Lyrically, as you us to just square peg round hole the the past it was just (guitarists) Greg mentioned, Allegaeon has always science thing for the sake of brand (Burgess) and Michael (Stancel) dobeen very cerebral, all ‘hail sci- consistency, when what we were all ing all the songs. So, there’d be five ence.’ We’re like the science band, feeling was something that I think is Greg songs, five Michael songs, and even songs like ‘1.618,’ that have much more relatable and profound.” then everybody would kind of add their parts individually. We would funny videos attached to them; the lyrical content is still all about the What they were feeling was the all write our own sections, but as Fibonacci sequence and the Gold- weight of loss—the album title is a far as the foundation of the music en Ratio, right?

Latin legal term that means “detri- and the structure of songs went, we ment either to character or prop- would just take what Greg and Mi“And so, with this record, I just wasn’t erty whether involving legal wrong chael had come up with individually there. I wasn’t in a place where I felt or not; harm or loss.” (Hey Mom, I’m and apply our writing to those parts. like I could slam my head against using my law degree here!) Damnum But this was the first album that we the door, trying to think of scientific is a record not weighed down by all all put our heads together and went concepts to write about. And not for the harm and loss that the past few part by part, through each song, lack of interest, but just because it years have put on the members of and contributed creatively.” didn’t feel right. Music, to me, and the band, but enhanced by a group writing especially, has always been not using scientific evidence, math It took 15 years, but finally Allegaevery emotionally intuitive.” equations, or cellular biology as on have become a legion. All of a metaphor for life; it’s an honest that collaborative effort and focus on what they wanted to say without “Not only was the music a lot big- portrayal of life’s toll. the veils of science metaphors has ger-feeling and more grandiose,” he continues, “and just had more Ironically though, it’s also a bit of resulted in not only the best album darkness and emotion attached to a science record, delving into so- of their career but a clear early it, but I was also in that head space ciology, psychology, and neurology. standout for metal album of 2022. and I feel that, obviously with the The emphasis on the human rather 💣💣💣

INTERVIEW WITH VOCALIST RILEY MCSHANE

BY NICHOLAS SENIOR

W

hat happens when the band that famously shouted, “Hail Science!” to the world moves from the cerebral to the psychological, from the intellect to the heartfelt? Well, if you’re Colorado-based act Allegaeon, you emerge with your most passionate, powerful release yet.

Damnum, out now via Metal Blade Records, feels like the band have stripped away the emphasis on what they think matters to what they feel works—both in how the record sounds and the darker subject matter. Damnum is the most expansive release yet, with the darkest metal Allegaeon have put to record contrasting with a greater emphasis on melody and tempo changes. In short, it’s a masterpiece, but not the one you’d expect from the band.

It’s also just a record that feels like an invitation to listen to some dudes cry into the wilderness about how shitty the world is, and it’s awesome and cathartic.

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30 For 30

CROWBAR INTERVIEW WITH FRONTMAN KIRK WINDSTEIN BY HUTCH

“L

ife’s been really busy, but all good stuff. Moving forward.

We’re real excited for the record to come out and get on tour,” says Crowbar frontman Kirk Windstein, while driving with guitarist Matt Brunson on their way to band practice. Their 12th album, Zero and Below, drops on March 4th via new label MNRK Heavy.

took us on our first long US tour, for a couple months (way) back in ’93. We’ve been friends with them ever since. And Sepultura, we toured with them in 2010 in Europe. We did 25 shows in a row. They like to work. They like to keep busy like we do.”

He just keeps getting better. Duane is a real stickler. When he mixed it, he said he was mixing this thing like he was mixing for vinyl years ago.”

Windstein opines modern metal production as “squash and smash the whole frequency spectrum.”

PHOTO Justin Reich

punishing and sharper. The band has released a video for “Chemical Godz” which hammers home the Crowbar sound. “Bleeding from Every Hole” lets Wesley’s bass shine with nods to NYHC. The songs demonstrate Crowbar’s signature churning, Southern sludge. The riff still rules and is elevated with Buckley’s precision and layered drumming.

Zero and Below marks a change in “There is no bottom end. There is nothmembers, with new recruit Shane Wes- ing shaking the seat you’re driving in. A noticed change, though, is Windley taking over bass duties. Accolades It’s because so many people listen to stein’s lyrics. Well, sometimes. Fans will He should be exhausted, but he ex- pour out of Windstein’s mouth, like a music on these ear pod things.” Zero still get the odes to depression and plodes with stories and excitement warm and doting uncle. and Below’s sound touts a strong low isolation. But with songs like “The Fear about Zero and Below and the upcomend and a crucial sonic immediacy. that Binds You,” “Crush Negativity,” and ing tour with Sepultura and Sacred “Shane came right in. He’s awesome. (He’s) “It’s Always Worth the Gain,” Windstein Reich, taking them on the road for a well-rounded musician. He has a jazz de- “For us, that (low end) is such a vital part gives himself a fighting chance.

30 shows in the span of just over a gree from Southern Mississippi University. of our sound. We’re so old school with month — more shows than Crowbar He did a wonderful job of adding stuff. our approach to everything. We’re just “As a person, I’ve been a lot more poshave done in the past two years. Their He played his ass off. He killed it.” Never one of those bands that shows up and itive as I’ve gotten older. It’s important last run of shows was last November, to spare compliments, he quickly adds, throws up beat-up cabinet and amps. to show that. Age is some of it. But for when they did two weeks of shows with “Matt is great. Tommy is amazing. It We’re so old school with our entire ap- a good while, I’ve been lyrically still Municipal Waste. really is a great position to be in.” proach. It’s not going to change.” tackling dark subjects but, at the same time, giving it that light at the end of the “We had a blast!” he says, “(but) we Another person to be lauded for You could say Crowbar hasn’t changed. tunnel. It’s a natural progression,” he quickly realized three or four days into bringing the band to the 30-year But they sure are focused and improv- affirms. “You grow as a song writer, a the thing we were out of touring shape. I milestone is Duane Simoneaux for ing. Zero and Below shows up more riff writer, and as a lyricist.” 💣💣💣 think – no, I know – that we’re definitely his producing, mixing, and mastering up for the challenge of this longer tour.” of Zero and Below. Simoneaux, out of Metarie, TX too, has worked with ExCrowbar’s first album celebrates its horder, Kirk’s solo LP, Down, and the 30th anniversary this year and Wind- prior decade of Crowbar’s records. stein knows how demanding the road He is basically considered a fifth can be but is optimistic about all the member of Crowbar. challenges they’re facing this year.

“He is super cool guy. We never could Windstein reminisces, “Back in the early imagine doing a Crowbar record withdays, we toured with Sacred Reich. They out Duane. It’s such a smooth process.

“AS A PERSON, I’VE BEEN A LOT MORE POSITIVE AS I’VE GOTTEN OLDER. IT’S IMPORTANT TO SHOW THAT.”

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INTERVIEW WITH GUITARIST AND VOCALIST JOHANNES PERSSON reflects a feeling of standing with “I don’t know. And I’m constantly getevery fiber on edge and each cell ting back to that. This ‘success’ did not

BY CALEB R. NEWTON

T

he Swedish post-metal group Cult of Luna have captured a staggering statement of purpose on their thunderous new album, The Long Road North, out now via Metal Blade Records.

and the guitar. I try to paint those experiences with words and music.”

At times, the music across The Long Road North proceeds without lyrics for noticeable stretches of time, and the compositional weight here is impressive.

Persson explains that for this album, the band relied upon their intuition.

It crashes through hypnotically captivating, sky-scraping rhythms of incredible magnitude. A searing intensity rushes through the whole trek, “You want to connect music and art like blasts of fire suddenly filling up in general to a conscious thought some maze of forested passageways that this was the meaning, and this in a beautifully devastating blaze. is how it turned out, and this is what You feel overtaken by the onslaught, our thoughts behind it are,” he says. but the grandiosity is presented so “Sometimes things just happen. The powerfully as to feel welcome right kind of free thing that we do now is from the get-go. much harder because everything is on the table. Anything can be good.

“Last summer, when the borders were So, I think, there can be a good thing closed to pretty much everywhere, we coming from limitations too, but this couldn’t go anywhere,” guitarist and is just the process we have right now. vocalist Johannes Persson shares. It’s just a bunch of what looks like ran“Me and my family, we did this road dom decisions, which are made by us, trip, inland through the mountains and it turns out to be a record.” and the forests region of the north of Sweden. I was so intrigued by it—I The sometimes-tumultuous record hadn’t been in those places since is expansive, and the ground can I was a little kid. And so, I think I suddenly seem to shift with every wanted to paint those experiences walloping hit. The cold—it reaches with the mediums that I use, the pen within. It’s consuming. The record

on display, as though vulnerable out come overnight. It’s been a gradual in the natural world but in a moment process that you really don’t notice of peace. Texturally, there’s a lot that until you’re standing behind the stage goes on here—when quieter moments at this massive festival, and you realbreak in, it’s like arriving at a stunning ize, what the fuck, this is crazy.” expanse of shimmering beauty, such “I realized, in our wildest imagination, as a frozen over lake. we couldn’t even think of being in a The occasionally earthy-sounding place where we are right now,” Persrecord seems geared towards am- son muses. “If the band would stop plifying the intensity into a sort of tomorrow, I mean, I couldn’t be more reverie. It’s broad, and exhilarating- happy of what I’ve experienced. It’s ly intense, and it reflects a band get- such an amazing thing that I’ve been ting to a point of renewed-sounding having more than half my life. So now everything is a bonus. We don’t have a artistic security. record label pushing us in any direc“Two years ago, the last time we were tion. We do anything we want, and for playing festivals, we were just about to the right reasons.” 💣💣💣 start playing at this pretty, pretty massive-status festival,” Persson explains.

“And we’re standing behind stage, like: when did this happen? I mean, it was as many people as you could see. It was dark, but still, it never ended. Like I remember our first Spanish festival in 2002 or 2003, I can tell you that that was a handful of people. Even though it was almost 20 years apart, like, when did this happen, and when did it become such a normal thing to just walk on stage in front of thousands and thousands, and tens of thousands of people?

PHOTO Silvia Grav

CULT of LUNA

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35

W

ithin the world of death metal, there’s a largerthan-life presence that exists: a mountainous figure equipped with a death growl so forceful, it quakes the earth when bellowed. That presence is none other than vocalist of the almighty Cannibal Corpse, fervent disciple of the Horde, and most importantly, passionate and tenderhearted family man, George “Corpsegrinder” Fisher.

INTERVIEW WITH VOCALIST GEORGE “CORPSEGRINDER” FISHER

BY SEAN MCLENNAN

Fisher has become recognized worldwide for the brutal and ruthless growl he employs, as well as his unceasing, on-stage neck spin.

After providing vocals for the last 11 Cannibal Corpse albums—including their most recent (and stellar), Violence Unimagined—touring the globe, and contributing his growl to dozens of other bands’ songs, Fisher has cemented a colossal impact on the pillars of death metal that will be honored and celebrated forever.

geoning roar. Corpsegrinder also “This album’s been done for a year. happens to be Jasta’s first signing to Imagine just buying a bunch of sick his Perseverance Music Group.

Christmas presents for like, your kids, or your best friend, or your mom or Jasta approached Fisher with the something, and you’re just like, ‘Man, idea to do a solo record after they they’re going to love this,’ and then had worked together on the Jasta you gotta wait a damn year. You track, “They Want Your Soul” in late gotta wait a year!” laughs Fisher.

2019. Fisher recalls Jasta saying, “Hey man, I have an idea to do a Corpsegrinder is one heavy and record with just you. Just you being brutal piece of work. The Bellmore the primary vocalist, and I said, ‘OK, brothers cross over musical landI would love to do it.’” scapes that pull inspiration from bands like Morbid Angel, Slayer, Fisher continues, “Then he started and Hatebreed, creating one cosending me songs, and when I heard lossally heavy and merciless sound. the songs, I was like, ‘holy shit,’ be- Songs like the lead single, “Acid Vat” cause it’s like … to me, it’s definitely (feat. Erik Rutan), as well as “On different then Cannibal. There’s a Wings of Carnage” and “Crimson few parts where you can say this is Proof,” merge Slayer-esque riffs with closer to Cannibal Corpse, a couple Biohazard-inspired breakdowns blastier parts, but in general, I think to deliver one hard, audible ass it’s more like thrash and hardcore.” beating.

With that said, the year 2022 sees Fisher achieving a special, new milestone in his music career: his latest, eponymous project, Corpsegrinder. The project unites the ever-busy Jamey Jasta (Hatebreed), Nick Bellmore (Dee Snider, Kingdom Of Sorrow), and Charlie Bellmore (Dee Snider, Kings And Liars), who managed to create ten punishing songs strictly suited for Fisher’s blud-

Entering back into the studio with All the while, Jasta compiled lyrics Erik Rutan (Cannibal Corpse, Hate for Fisher to sing in his signature Eternal), Fisher mentions, “We re- growl, as well as transforming the corded vocals for Corpsegrinder phrasing and flow to fit the more right after we did Violence Unimag- groovier elements of Corpsegrindined. I believe we recorded last year er’s sound.

[2020], and I completed recording in October. So, I did Violence Unimag- “I do want to thank Jamey for bringined, and boom! This came right ing this to me, Nick and Charlie that after, and we’ve just been sitting on played on it, and Erik Rutan who it and getting things together.” recorded my vocals. All the guys who

36 NEW NOISE

worked their ass off on it, because we should all be proud. I think it’s a really great album. It’s heavy and sounds great; I’m as proud of it as anything I have done,” says Fisher.

It’s clear to see that Fisher is someone who sacrifices so much for his fans, understanding the level of passion they have for his music because he too shares that passion for the artists that have inspired him over the years.

Corpsegrinder represents a new personal peak for Fisher, allowing him to continue his life’s work as one of the most brutal vocalists of all time.

At the end of the day, as Dee Snider says in one of Fisher’s most prized motivational songs: “And the price is our own life until it’s done.”💣💣💣

NITE

PHOTO Jeh N.W.A.

INTERVIEW WITH GUITARIST AND VOCALIST VAN LABRAKIS

BY NICHOLAS SENIOR

T

he world needs more blackened heavy metal bands.

While it’s become something close to a scene, most bands tend to lean closer to the black than the heavy. Thankfully, that’s not the case for the Bay Area masters in NITE. Their sophomore release, Voices of the Kronian Moon, out March 25 via Season of Mist highlights the power of a band uniting three decades of heavy metal (‘70s, ‘80s, ‘90s) and modernizing it.

Unlike a lot of retro-styled acts, NITE feel like the sound of tomorrow rather than yesterday—blazing leads, arena-ready melodies, and harsh soundscapes abound. The icing on the cake is the harrowing Arthurian tale at the center, sprinkled with nice messages about being a better person and conquering darkness.

Everything about this album is a step up from their debut. Voices of the Kronian Moon just kicks so much ass.

Guitarist and vocalist Van Labrakis is appreciative and notes that it took some time to get here: “If we were not getting better, then something would be wrong (laughs).

Yeah. I mean, I think that we got to know each other better because we didn’t really know each other before we started this band. So, I moved to the U.S. from Germany in 2015. I met the guys in 2017 so it took a little bit of time to get to know each other, how we like things done and what kind of songs work well for all of us.” “(This record) kind of happened at the same time with the pandemic,” he continues, “so we were kind of cornered because we were all isolating when the pandemic started.

We didn’t see each other for a long time, for like nine months or so. So, it was kind of weird because we were still practicing, but it was isolated.

We would have all these Zoom calls, and we worked more on this than we would if we were in the practice space for all the months. In practice spaces, you know, we tend to also chat about other things and have fun and stuff, and this was very, very focused.”

“In the first album, we were also trying to get things going. We were kind of

trying to workshop this thing and get that few traditional heavy metal recorded before we even played it out there. We did that first album bands are doing what NITE are—not our first show, so we have gained a with absolutely no budget, and then only the blending of uber-melodic lot of experience seeing which songs Creator-Destructor Records was kind leads with blackened vocals, but actually work and which songs don’t enough to do a great job and put us also taking in influences like The really work live.” on the map. And here we are now, Scorpions, Thin Lizzy, ZZ Top, and and we have the backing of one of mid-career Megadeth. Labrakis “We took all those insights and apmy favorite labels of all time, and the acknowledges that finding the right plied them on this album and tried perfect place for us to do what we sonic recipe isn’t easy: to make songs that work, but I’m sure want to do. And things are a little difthat some of them are still not going ferent, like having an actual budget “With this one, we felt more comfort- to be great live (laughs). What we all for an album is different.” able doing what we set out to do on set out to do was something that I was the first album, but on the first album, really adamant about from the start: It sounds like NITE had one of the I think we were a little bit more hes- try to make music that is exactly what most productive Zoom sessions going itant to go crazy with our traditional we like and exactly what we listen to on. I don’t want to skip over the fact metal influences. That album was when we are home or in the car.” 💣

NEW NOISE 37

PHOTO Rachael Shorr

INTERVIEW WITH SOLE CREATIVE FORCE ATHENAR

BY SEAN MCLENNAN

I

f there’s one thing that stands guides the mentality behind Midout about Athenar, the sole cre- night’s music and imagery. Atheative force behind Midnight, it’s nar has maintained his freewheelhis ability to write and grind out good ing attitude and crudity over the songs. Operating as a one-man army course of Midnight’s discography, since 2003, Athenar has been able allowing the band to have more of to channel the raw ‘n’ rugged charm a raw attack. from the ’60s, ’70s, and ’80s music that impacted his youth, into his own “That’s just the way I feel, that’s just the electrifying, speed-metal thrill ride. way it should be, you know? Humans are crude in general,” says Athenar, With an abundance of demos, EPs, laughing. “The rock ‘n’ roll, heavy splits, and full-lengths under his metal style, it shouldn’t really be too bullet-laced belt, Athenar gives clean and polished, and I’m not recredit to classics like Raw Power by ally connected to what other people The Stooges and Apocalyptic Raids by think, that’s why I just stay in my own Hellhammer. headspace.”

“Those albums are ingrained in me, and that’s just the style that I like,” he says. “You could hear the intensity with that stuff, and you can hear, especially with Hellhammer, too, they’re just going for it. They don’t know anything else; they don’t know any better; there’s no rules for them at all.”

And having no rules is exactly what

38 NEW NOISE

As the release date for Midnight’s fifth full-length album, Let There Be Witchery, approaches, Athenar surely delivers his most venomous vocal attack and unleashes some of his most gripping hooks yet. The newest collection of songs is full of piss and vinegar, with spontaneous guitar leads that stimulate every salacious sense in the body, all backed by one roaring production.

Tracks on the new record such as “In Athenar utilizes small tricks to aid in Sinful Secrecy,” “Snake Obsession,” the flow of the album. and “Villainy Wretched Villainy” summon some of the catchiest qualities “You want something out of the gate within Midnight’s balls-to-the-wall, that will at least grab [the listener’s] punk-infused sound. attention,” he explains. “And when you’re talking about keys and stuff, if “Without catchiness, what do you one song ends in A, you want the next have? Then you might as well just put song to start in E, so it has a natural on anything else. It’s at least my intent flow to it.” to have a song you want to sing yourself. So, it’s pretty important to have He continues, “A to F# always sounds some sort of hook, however that may good, too. The listener might not be. A hook can be just a little drum know … but they’ll feel it. It’ll have a accent; it could be a vocal part, but it certain bit of heaviness kicking from has to have some sort of hook.”

A to F# into the next song. So, I try to think that way.”

On the other hand, a song like “More Torment” is able to slow the pace When asked if there’s any part of him down a bit and add more of a swingy, that’s happy to be passing along oldheavy element to the record. er song traditions set by bands like Venom, Motorhead, Bathory, and “I like to at least attempt to give a little Hellhammer, to younger generations different pacing, where I can,” says to discover, he mentions: “Yeah, I Athenar. “The slow stuff like that, the mean, I think that’s what it’s about, more grinding stuff, I’ve always let right? Just turning people on to music that come back to Celtic Frost, that’s in general. It’s not all about me. I reone of the things I like about them. It ally don’t give a shit if someone listens wasn’t just all speed.” to Midnight or not, but if they listen to Midnight and then get turned on to As far as the song placement and the some other bands, then that’s great. pacing of Let There Be Witchery goes, That’s the way it should be.” 💣💣💣

PHOTO Michael Thorn

NAPALM DEATH

INTERVIEW WITH VOCALIST MARK “BARNEY” GREENWAY

BY JASON SCHREURS

N

apalm Death vocalist Mark songs on Resentment. Greenway says “Barney” Greenway has the band has been talking about dofond memories of under- ing a mini album for the past couple ground punk gigs where he could years as a throwback to the days of flip through record distros and find discovering new records at gigs. treasures lurking within. In that spirit, the band has released a mini-LP “I like the idea of the ‘didn’t see that called Resentment is Always Seismic coming’ aspect of it,” says Greenway.

– a final throw of Throes. Weird title “It’s nice just to put something out this capitalization aside, the mini-LP (in- soon after the album.” cluding two covers) are a companion piece to 2020’s mind-imploding Technically outtakes, the eight album Throes Of Joy In The Jaws Of songs are surprisingly cohesive for Defeatism, one of the most stellar what could have been an oddsheavy albums in recent history. and-sods release.

“When we go into the studio, we flog “Even though we had the tracks left ourselves to death. We always go in over, we weren’t going to just throw saying, ‘We’re not going to do what them at the wall and see how they we did last time, it’s too much,’ and landed,” says Greenway. “None of then our heads just fucking explode.” them are inferior or have less equalTrue to form, Greenway, bassist ity, they just didn’t feel instinctive with Shane Embury, drummer Danny Her- Throes’ track listing.” rera, and guitarist Mitch Harris came away with not only the bonus tracks The mini-LP’s title track, which lands for Throes, but the additional eight last of the eight songs, was remixed

40 NEW NOISE

by Embury in his Dark Sky Burial hyper-blast at the halfway mark. alter-ego and it connects to the death-groove of track two, “Resent- “We hope to integrate the two styles ment Always Simmers.” On both songs, even further in the future because Greenway looks at how resentment in the past, you could say, ‘This is can be a seed for something much the traditional, fast grindcore, punk more nefarious. rock, metal, and this the industrial-type songs.’ You can make more “Resentment is mistrust, paranoia, ha- interesting things when they’re kind tred taken to the nth degree,” he says. of schizophrenic, in an art sense. With “You’ve got to stop and think about the kind of music that we do, it should this because if you resent people, have the spontaneity.” be prepared for dire consequences.

Be prepared for the fact that it can With Seismic as the middle point simmer over into persecution, to vio- between Throes and whatever mutalence, and even murder.” tions come next, Greenway says he’s excited to hear the new riffs Embury The mini-LP also opens space for he’s been working on. Embury posted the band to experiment with the two to social media that he’s conjuring poles of their sound, the hyperdrive up “some heavy as fuck riffing” with grind/punk and the dirgey industrial “more extreme experimentation.” skronk. According to Greenway, the band would like to mesh the two “Shane knows there’s two underpinstyles more going forward and the ning things for us. First, it’s got to be mini-album’s opener “Narcissus” as abrasive as fuck or it’s not Napalm hints at. Its distorted, plodding bass Death,” he says. “And it’s got to be forintro launches into a mid-tempo ward-thinking at the same time. It’s lurch by one of Greenway’s patented the same elements that have been shrieks before the band sprints into there since 1981.” 💣💣💣

KONVENT

“Rikke is really inspired by Travis Ryan from Cattle Decapitation,” Withington Brink says. “She always wanted to sound as low and brutal as he does. We also wanted a more highpitched blackened scream after making Puritan Masochism, so she started playing with shifts between INTERVIEW WITH BASSIST HEIDI WITHINGTON BRINK BY CHRISTOPHER J. HARRINGTON these two vocals a lot more on this record, which we all love. It just gives enmark death-doomers dark, but the sun is like cubist splinters “The whole album really evolves another dimension to our songs.”

Konvent have true oneness to throughout. around going in circles and being their being: a sound that fits tired of that self-destructive pattern Konvent are no mystery (they’re together vertically and a darkness “I definitely think there’s peace for us that you want to get out of,” With- the truth), and yet, they’re almost that evens out horizontally. It’s a in the music we create,” Withington ington Brink says. “The title is a sort like shape shifters: just as you think crushing sound, yet with space. And Brink explains. “Getting certain of a metaphor for calling down the you’ve found their groove, like the within this space, each member lays things off your chest is always a wrath of the sun upon something in night wind, you’re inundated with out a vision, a story, a tale of together- great starting point for peace. It your life that you’re fed up with. We darkness so unreal, it’s always ness. They are a band that hit directly. might not sound like it, but I hope feel like the sun is a really strong fresh when listening to the new that other people find peace in our force that both gives life and can record, always something hidden, “We are a very collaborative band, music. Maybe something resonates take it away, and you can aim for something dark. and everyone has a say in every- with them, whether it be lyrics, or something really high and never thing we do,” bassist Heidi Withing- a certain atmosphere or melody. get there, and then at some point “We actually thought about the ton Brink notes.

Whatever other people can use our decide to stop aiming, but just call name ‘Kloster’ in Danish at first, music for is a gift for us.” down the sun to yourself instead.” which means ‘convent,’” Withington The evenness that their new record Brink explains about the origins of Call Down The Sun, out March 11 via The new record, perhaps hidden Vocalist Rikke Emilie List is the vo- the band’s name. “But that was takNapalm Records, holds proves this. behind its simulated bleakness, is re- calization of that calling. Hovering en. So we just translated the name It’s a remarkably clean emptiness ally about the sun: a sun that you can somewhere completely unique, she to English instead, and then we that the quartet layer; a sound like feel throughout your icy pains, hitting splits the instrumentation in two, liked it with a ‘K’ instead of a ‘C.’ We a moon waxing, a river sparkling, an isolation as your mind begins while still retaining the complete generally really liked a name that ice dreaming. Through the crushing to channel strength. Slowly it builds whole, over and under, she dom- referenced something as mystical shards of each composition, calm is together. As each song forms into inates, and is never overbearing; as a convent, which holds so many achieved. Perhaps hope and love is another, Call Down The Sun connects floating the extremism like leaves tales and mysteries while being so where one’s mind hovers. It may be the dots, the eternal circle. twinkling to the ground. closed off.”💣💣💣

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COMEBACK

KID

INTERVIEW WITH VOCALIST ANDREW NEUFELD BY JOSHUA MARANHAS

W

ith their next release, Heavy Steps, out now on Nuclear Blast, Comeback Kid has captured their live ethos in a digital recording. Like lightning in a bottle, the album is electric. From the title track, “Heavy Steps,” to the next track, “No Easy Way Out,” bedroom floor punches and circle pits of one ensue. Heavy Steps goes hard out of the gate and runs full-force right to the finish with “Menacing Weight.”

Singer and songwriter Andrew Neufeld, key songwriters Jeremy Hiebert and Stu Ross, drummer Loren Legare, and bassist Chase

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Brenneman have made a proper heavy record. It runs just over 32 minutes and pushes electrocardiograms to breaking points by the time it gets to “Face The Fire.”

Think running five-minute miles at a time when walking a mile takes 20 minutes. It’s a pure adrenaline rush in 11 tracks that average three minutes each. Wipe the sweat up, catch a breath, and hit repeat.

pounds, with a new record to unleash once he’s out of the cage.

Neufeld details the last couple of years, touring and the events leading up to 2022’s release of their next banger. He starts in Oregon.

was gonna get a flight, and then I got the news on my way up here, so I just stayed here. When you’re by yourself in a room for a few days, you start thinking crazy.”

Right before the new year, Neufeld Current holding pen aside, Neufeld is on a mandatory timeout from weighs the pluses and minuses— touring. Comeback Kid, like so many bands, are quarantined due “A couple guys got (COVID) in Port- touring slowed, but writing and to COVID. Pacing his hotel room in land,” Neufeld says. “So, they’re recording went full speed ahead. the Pacific Northwest like a beast, stuck there right now. I was driving he’s lean, having lost the pandemic the others back to Seattle, and I “If it weren’t for the pandemic, it

PHOTO Nick Zimmer

restructuring certain songs or just kind of like working on transitions.”

“IT’S HARDCORE DOWN THE MIDDLE, BUT WE’RE DEFINITELY VEERING.”

With age comes wisdom. Finishing Heavy Steps as a band made Neufeld feel a new kinship with his bandmates and their work.

“We’ve never been the kind of band that can pump out records every year two,” Neufeld says. “I think the reason why it kind of happens every three to four years is because we need some time to think about it and have some time away from the songs after they’ve been written.”

The process gives the artistic nature of their varied musical tastes a chance to forge together in the fire of Comeback Kid’s furnace.

“We all have quite different influences,” Neuman says. “I wouldn’t even say that we all like the same kind of music. But that’s why, like every Comeback Kid record, you’ll always have those kinds of alternating styles. We’re not gonna, like, ever be super loyal to one certain genre of hardcore, you know? It’s hardcore down the middle, but we’re definitely veering.”

Neufeld is just excited about hardcore, and that excitement, that energy, is captured forever on Heavy Steps.

“I don’t think (this record) is cookie cutter in any way, shape, or form. I hope that you can hear the desperate nature of the vocals and that we’re really playing our instruments, you know? You can hear the scrapes between the chord changes on the guitar. You can hear those kinds of metallic slides and scrapes, and we kept a lot of that stuff in there.

I’m lucky to have some really good players playing with me, and we try to like really push that authenticity as much as we can.”

Neufeld doubles down. He’s ready to go, to support Heavy Steps on the road, to let every bit of Comeback Kid’s energy off the cellphones and wireless routers and into the world, from live guitars, bass heads, and stacks of speakers.

would’ve probably taken even Garage Band software.

Once they had a rhythm and a calonger to get this record out,” he dence, they moved into a pandemic explains. “Once the world came to a “I would sing vocal ideas in my practice space. halt, it took some time to let the dust bedroom, send back to them, and “I hope that they can hear the emosettle. Then we just started.” it wouldn’t be, even, like, words,” “We used Winnipeg as our home tion, and the realism in the emotion, Neufeld explains. “It would just be base during the pandemic, be- and the desperation in the music They worked like so many bands like, you know, cadence, I would cause that’s where Jeremy is from. and in the vocals,” he says. “I just lost through COVID. They sent heavy au- just kind of get like the feeling or Canada had a lot of restrictions. 40 pounds during the pandemic, so dio waves by cellphone towers and a rhythm of a vocal, or a melody We’d pretty much just get an Airbnb I’m ready to go, dude. Like, get me internet routers, likely hogging a ton and kind of, ‘OK, this works; this is there and rehearse inside there. out of this COVID hole. I’m like Mike of bandwidth with the crush of this cool,’ and a lot of that back and That’s where we kind of come Tyson ready to go, coming back, record, to Logic Pro with a touch of forth.” together and talk about, maybe trying to get this back.” 💣💣💣

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INTERVIEW WITH VOCALIST AND GUITARIST MAC MCCAUGHAN

BY JOHN B. MOORE

S

uperchunk’s latest album, Wild “Well, now it sounds like it’s about Like many of Superchunk’s songs Loneliness, out now on the being stuck at home all the time, or over the past three decades, the lyrband’s own label, Merge Re- remote school or something,” says ics may be coming from a personal cords, seems like a pretty accu- Mac McCaughan, singer, guitarist, perspective but still have a remarkrate snapshot of life during the and band co-founder. “But it’s about ably relatable quality about them. global pandemic. Songs like the first the disorienting feeling of waking up single, “Endless Summer,” appear to on New Year’s Day, and it’s 70 de- “I started writing a couple months be spot-on descriptions of 2020, when grees outside, and instead of having before everything shut down in you could go days without leaving your a bonfire or something, everyone is early 2020,” McCaughan says. “After house. But that’s not really case here. wearing short sleeve t-shirts.”

What A Time To Be Alive touring, we PHOTOGRAPHY Miranda Nathanson

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had released Acoustic Foolish and done a few acoustic shows playing that album. Those shows were really fun, and recording that acoustic album live in the studio was cool, so I started writing songs that would lend themselves to that treatment.

But I assumed we would record in a studio when the time came, not the studio in my basement!”

COVID-19—including “City Of the Dead.” The ‘cover your face’ line is referring to the Hong Kong protests.”

Song themes aside, COVID did have an effect on the way this album was recorded, with each member recording their parts separately for the most part.

“It was actually fun because I got to see Jim (Wilbur) and Jon (Wurster) when they came over to record their parts in my basement,” McCaughan says. “I sent everyone demos to hear in advance and then Jim would come over. I’d have an amp mic’d up, and he’d stand across the room, or Jon would sit behind his drums, and I’d sit ten feet away.

We’d both be wearing masks, I was running the Pro Tools, and he was doing his takes, and then we’d decide as we went what takes we liked best. Laura (Balance) and I went over songs via Zoom occasionally, but mostly she would randomly email to say there was a new bass track in the Dropbox.”

McCaughan would then put it all together and make mixes. Wally Gagel would them make the final mixes for the record. “(He’d) work his magic and make it sound not like we recorded it in my basement.”

Along with the band’s traditional line-up, they brought in a lot of guests to help out on the record, including Sharon Van Etten, R.E.M.’s Mike Mills and Franklin Bruno, and Tracyanne Campbell of Camera Obscura.

“I ASSUMED WE WOULD RECORD IN A STUDIO WHEN THE TIME CAME, NOT THE STUDIO IN MY BASEMENT!”

Aside from “Endless Summer,” there are a couple of other songs, “City Of The Dead” and “Wild Loneliness” in particular, that seem to have obvious references to life during the pandemic … even if that’s not the case.

“We don’t want to make records that are too attached to the date they came out, and the intention was definitely not to make a record that’s about the pandemic, but yeah, even some of the songs that seem pandemic-related were written before anyone had heard of

“Most of those things were decisions made during the process of recording,” McCaughan says. “Like, a song gets to a certain point, and you think, ‘It’s missing something,’ and then I just listen over and over to the rough mixes trying to figure out what that thing might be. We are lucky to have been able to rope so many incredibly talented peers into adding their magic to this record!”

Aside from working on the latest Superchunk record, McCaughan still found plenty of time to work on other music projects during his time in quarantine.

“In addition to working on Merge releases, I recorded a film score (Moxie on Netflix), edited and self-released a live album (AVL) that Mary Lattimore and I recorded on a tour we did the year before, and made my solo album (The Sound of Yourself) which came out in September.

So, keeping busy!” 💣💣💣

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PHOTOGRAPHY Alan Snodgrass

NAKED RAYGUN INTERVIEW WITH VOCALIST JEFF PEZZATI AND BASSIST FRITZ DOREZA

BY SEAN MCLENNAN

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B

ack in 1980, Chicago was in the midst of developing what would later be referred to as its very own punk/hardcore foundation.

Firmly planting the roots a few years prior, a slew of youths came together to form bands like Tutu & The Pirates, Silver Abuse, Mentally ILL, and many more. A revolving door of friends, budding musicians, and experimentalists were creating clamor that was oftentimes amusing, but a very honest expression of their angst at the time.

Of this specific era, there was no band that represented the bold, aggressive, and catchy punk pulse of Chicago better than Naked Raygun.

Responsible for releasing a handful of beloved punk-rock classics between the band’s active years of 1980 to 1992, Naked Raygun disbanded, reforming again in 2006.

“Naked Raygun’s impact on me growing up was pretty significant as a musician and a kid looking for an identity,” reflects bass player Fritz Doreza. “As a young bassist, I basically learned how to play bass from listening to The Ramones and Naked Raygun … [so] at first, playing with Naked Raygun was kinda surreal.”

Doreza has provided touring bass duties for the band since 2013, merging as a member of Naked Raygun after longtime bassist Pierre Kezdy lost his battle with cancer in 2020.

“When it came time to learn and play the vast catalog of songs, everyone was very patient and supportive, especially Pierre,” recalls Doreza. “Pierre showed me how the

bass lines actually went, opposed to what I’ve been hearing in my head for the last 35 years. He told me funny stories and dumb jokes to make me feel comfortable at rehearsals because he knew I was nervous and put a lot of pressure on myself.”

After over 30 years since the release of their last studio album, 2021 saw Naked Raygun come full circle in many respects, partnering with the legendary Wax Trax! Records to release their latest full-length, Over The Overlords.

Regrouping to write songs for Over The Overlords, sole constant member and vocalist Jeff Pezzati mentions, “For me, it was a matter of writing songs worthy of being recorded by the band. I made sure that the songs that I contributed were good songs.”

‘WHAT IS THIS FUCKERY?’ BECAME SORT OF A MANTRA. says Pezzati. “You may not know it at the time, but these may be the good times right now.”

Pezzati adds, “Shooting the video at Cobra Lounge [Chicago] is a nod to our friends at Cobra, which includes the late owner, Sean McKeough.”

As usual, Naked Raygun allowed He continues, “The influences that for exploratory songs on the new impacted the writing of the songs record. were mostly pent-up feelings and emotions about what is going on in “Well, Pierre wrote ‘Soul Hole Baby,’ our world now that is fucked up or and he wrote ‘Black and Grey,’” bastardized. ‘What is this fuckery?’ reflects Pezzati. “I observed Pierre became sort of a mantra.” getting great joy from writing and completing these songs, and revEven with the long hiatus, Naked eling in the way that they are very Raygun maintained their unique different.” aptitude for songwriting on Over The Overlords. There’s the direct Pezzati concludes, “It means a lot to strike of “Go The Spoils,” which be on the Wax Trax! label. Wax Trax!

Pezzati says “makes the vague state- was instrumental to my ‘education’ ment that you’re losing ‘it’ and you of the punk rock and alternative know it, and you can’t do anything music that was available at the time. about it, maybe because you’re out Jim Nash and Dannie never failed of date and old.” to say, ‘Hey listen to this,’ when I walked into their store. And, about Then there are more upbeat, catch- 85 percent of the time, it was worth ier tracks like “Superheroes” and not only a listen but a purchase.”

“Living in the Good Times,” which “prophetically bitches about simply Over The Overlords is also the final wanting to live in those times that recording to feature Pierre Kezdy’s will be remembered as being good,” work with Naked Raygun. 💣💣💣

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THE BOYS ARE BACK

HOT WATE MUS 48 NEW NOISE

ER SIC

PHOTO Michael Thorn

INTERVIEW WITH BASSIST JASON BLACK AND GUITARIST AND VOCALIST CHRIS WOLLARD

BY JASON SCHREURS

H

ot Water Music have always been a band to count on when times get tough. The band’s fistin-the-air anthems are the bedrock of its 29-year trajectory from young Gainesville, Florida punks pouring their hearts out to, well, older Florida/California/Canada punks pouring their hearts out.

On Kill the Void, the band’s ninth album since forming in 1993, the dark times of the past two years show the band more contemplative and punchier. Transforming struggle into triumph has been Hot Water Music’s modus operandi since the beginning. Why stop now?

Zooming in from Gainesville, guitarist and vocalist Chris Wollard and bass player Jason Black have shit-eating grins on their faces, celebrating their first album in five years.

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PHOTOGRAPHY Michael Thorn

“IF SOMEONE TELLS ME THAT THIS RECORD ISN’T IN THE TOP THREE OF OUR RECORDS, I WILL JUST VERY POLITELY TELL THEM THAT THEY’RE WRONG.” “I’m pumped. I haven’t felt as good about a record in a long time, probably since (2002’s) Caution,” says Black. “And I know every time someone puts out a record they say, ‘it’s our best record yet,’ but if someone tells me that this record isn’t in the top three of our records, I will just very politely tell them that they’re wrong. And I know better because I’m in the band, and that’s the end of the discussion.”

It’s tough to decide who’s more excited about the album, Wollard or Black.

“It’s probably my favorite mix on any record we’ve done. It’s a very, very artistic mix,” says Wollard. “I’m really impressed by what (producer) Brian McTernan and (engineer) Ryan Wil-

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liams did. It’s not every album where you wake up and say, ‘cool, I’m going to go in and do another 10 hours.’

This album was a fucking pleasure.”

Hot Water Music is rounded out by Wollard’s career-long guitarist and vocalist counterpart, Chuck Ragan, and drummer George Rebelo, as well as new addition Chris Creswell, from Toronto melodic punks The Flatliners.

This time, with Black, Wollard, and Rebelo all within two hours of each other, the three were able to lay down the song foundations before all five members and McTernan hit Williams’ Black Bear Studios in Gainesville to record. Leading up to the studio sessions, they tried to avoid Zoom fatigue while hammering out arrangements for songs that alternate between the all-pistons-firing Caution, and the somberness of The New What Next.

that you mentioned The New What Next because that’s the last record where three of us wrote in the same place. Chuck had just moved to California right before it came out.

Everything before that album, we were always writing songs.”

Wollard is particularly stoked on the collaborative approach of the new album and being able to work with the band again after leaving to address his mental health issues.

He’s spent the past several years in therapy and taking medication and has decided to stay away from touring for the foreseeable future.

The band’s no stranger to recording remotely. As countless bands “I don’t want this to come off as adjust to recording in different dismissive of other records we’ve places, Hot Water Music have been done, but this is the first record we’ve doing it for nearly two decades. written where nobody came in and 2012’s Exister, 2017’s Light It Up, said, ‘I’ve got a song, and it’s goes “It got to the point where we were and parts of 2004’s The New What like this, and the chords change here, booking shows a year or two out. I Next were finished off over email, and here comes the bridge… ’” says was already dreading it before it Black, singing a vocal line. “It’s funny started. It brought on anxiety,” says phone, and video conversations.

Wollard. “Luckily, I’m in a band where we can still make it work and they can still tour.”

Hot Water Music fans who thought Wollard wouldn’t return to the band will be relieved to hear he hasn’t missed a step in his songwriting.

Feel the Void has as many of his steam-engine guitar lines and gruffly delivered melodies as ever. On the new album, “Newtown Sugar” and album closer “Lock Up” are classic Wollard, with his unmistakable frenetic guitar lines and higher-register growl backed by Ragan’s rugged roar.

The album’s 12 songs cover a lot of ground. Opener “Another Breath” sets the tone with Ragan cutting through the heaviest groove the band has ever locked into. Meanwhile, “Ride High” verges into power ballad territory. A Ragan classic, his unmistakable lumberjack, mountain man vocals layer over a goosebump-inducting guitar line.

But wait. Back up.

“Let’s flip the script on that one,”

laughs Black. Wollard chuckles in his Zoom box. “That’s actually a leftover from The Draft [Jason, Chris, and George’s other band] that never had vocals. McTernan kept pushing it, saying he really wanted to do it, that it’s really going to be good.”

The result is one of Hot Water Music’s most complete songs to date.

Kill the Void may not have existed though without a chance encounter at Gainesville punk festival, The Fest, in 2017. Just hours after Wollard had to pull out of the band’s headlining spot, drummer Rebelo ran into Creswell, a massive Hot Water Music fan, and told him the band was going onstage as a three-piece. Rebelo’s next question changed Creswell’s life: Would he like to play couple songs with the band? Five years later, Creswell is now a full-time fifth member who tours with the band in Wollard’s place. It’s the first time in the band’s history that it’s not just Ragan, Wollard, Black, and Rebelo.

The band encouraged Creswell to be part of Kill the Void’s writing pro-

cess and he stamps his unmistakable vocal imprint on “Turn the Dial.” With lilting vocals smoother than the band’s fans are used to, it’s one of the punchiest songs on the album—a spark ignites when impassioned gang vocals punctuate Creswell’s harmonies.

“Everyone has their go-to bag of tricks and that changes over time, but Creswell’s bag of tricks comes with things that some of us never use,” says Black. “There are some more dramatic chord progressions on this album that remind me of Queen.”

The best part of Kill the Void is that it’s not a throwback album, rather it adds new depth to the band’s signature sound. As a result, its 12 songs hit all the sweets spots. Then they find more.

“We always used to say that there wasn’t a style that didn’t fit the band, as long as it worked out as a good song and felt okay once we were done with it, then cool, it would go on the record,” says Black. “We came back to that full circle on this record.” 💣💣💣

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PHOTO Ryan Scott Graham

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53

“I WANTED TO FAIL,” INTERVIEW WITH VOCALIST PATRICK KINDLON BY JOHN SILVA

LAUGHS DRUG CHURCH VOCALIST PATRICK KINDLON. “I THOUGHT IT WOULD BE GOOD FOR ALL OF US TO DO A RECORD THAT WASN’T AS WELL RECEIVED AS CHEER. BUT MY BANDMATES [DID] NOT AGREE.”

Comparing creative careers to the stock market, he explains that there need to be low points, or the drop-off will be more severe. But Kindlon might have to wait a bit longer for that course correction, as the band’s new album, Hygiene, is everything fans want in a follow up to Cheer.

“The record that is Hygiene was recorded, and when I heard it, I said, ‘Oh, this is a pretty good record.’ And the guys were offended because they thought they wrote a great record. But I said, ‘No, it’s just pretty good. It’s an eight out of 10. Seven out of 10, maybe.’ And they were really nervous that they hadn’t written the best material that they could,” Kindlon explains. “We chopped songs off, went back in the studio, and now I think it is every bit the equal of Cheer.”

Hygiene is Drug Church’s most accessible album to date, which isn’t exactly what Kindlon was hoping for.

But the tension between Kindlon’s affinity for heavy and abrasive, and the rest of the band’s tendency towards pop, is what makes Drug Church so interesting.

“I always wanna do heavier music,” Kindlon says. “The reason for that is

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PHOTOGRAPHY Keith Baillargeon

I’m not much of a singer. And I think that I’ll look pretty ridiculous doing heavy music in five years because I’m just getting older. I wanted a properly heavy record in our catalogue before I look silly performing it. But that’s not what they were listening to. When they went into the studio they weren’t listening to heavy music for the months before that.

They were listening to a lot of British “I mostly gave in and tried to sing,” he stuff, and I think that’s what made says. “People at home can tell me if I the influence on it being a little bit was successful at that or not. I’d say more accessible.”

I lost most of the battles and had to actually try. I didn’t get to relax; I had While Kindlon pushed back on to actually try to do things that maybe some of the material his bandmates are more of a challenge for me.” brought him, they were largely in agreement about the direction for Thematically, like Cheer, Hygiene deals the record. with a lot of the same frustrations

towards people who are always Ever the provocateur, Kindlon often in each other’s business, trying to criticizes the scene politics he enpolice one another. Anyone who fol- counters throughout his life in DIY lows Kindlon’s creative work, which music communities. in addition to music, includes podcasts and comic books, will be famil- “I frankly refuse to submit myself iar with these themes. He doesn’t shy to the authority of someone who away from conflict and will call out self-elects to that authority just hypocrisy anytime he sees it. to harm others,” Kindlon says.

“I FRANKLY REFUSE TO SUBMIT MYSELF TO THE AUTHORITY OF SOMEONE WHO SELF-ELECTS TO THAT AUTHORITY JUST TO HARM OTHERS.”

“Which is almost exclusively what I see from the people who would tell other people how to live. I’ve never seen it actually informed by some type of need to do right to the greater good of a community, and all the gibberish that people kick out when they’re justifying their sick predilection for giving orders to strangers or demanding compliance from people they’ve never met.”

groupthink that would allow you to destroy somebody, can be mobilized in minutes.”

Kindlon has sometimes gotten caught up in controversy and upset some people when talking “too loosely.” But under the surface, he is a person with deep compassion and empathy for other people. Seeing lives destroyed by unlicensed hall monitors has given him a unique perspective and a deep aversion to scene police.

Kindlon notes that this mania is nothing new, people have always been nosy. What’s new are the immediate “I don’t have the stomach for the consequences of that nosiness. hypocrisy,” he says. “I suppose that that childish kickback response to “We’ve always had a thirst for other hypocrisy is my personal problem, peoples’ business,” he says. “The but it is one that I certainly have.” difference now is that the sort of 💣💣💣

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PHOTO Ronald Dick

56 NEW NOISE

INTERVIEW WITH PROJECT MASTERMIND STEPHEN O’MALLEY

BY ADDISON HERRON-WHEELER

L

ast year, at a time when we were all desperately needing it, we finally got some good news: Sunn 0))) were releasing a special live album from their BBC 6Music sessions.

The full title of the record is Metta, Benevolence BBC6 Live: on the invitation of Mary Anne Hobbs.

Like all things that Sunn 0))) do, the theatrics behind the name, the gorgeous art on the cover, and the special collaborations that took place on the record, combined to make something whole and very unique.

sense. But they manage to cap- when you play together is an ture that heavy essence on this extremely important part of the live record. process,” O’Malley says. “It’s a real pleasure to be in that place Part of that is thanks to the with those other musicians, getart, which is one in a series of ting to listen and also getting to ongoing collaborations with collaborate, and that was cerpainter Samantha Keely Smith, tainly the vibe there. I think the who creates large-scale ab- piece is very interesting, and it stracts with realism elements shows that the spirit of the musithat interpret and break down cians is key in the music.” things like dream states and the subconscious. The art she However, through all this poshas created for this piece itivity, there is still a cloud on truly captures the essence of the horizon when it comes to the live performance and the the vinyl edition of this album, contained chaos of it all. released January 28 via Southern Lord. While CD and digital The other piece of it is the versions were available in Nocollaboration that is essential vember of 2021, the band anticto Sunn 0)))’s musical journey. ipated major delays on the vinyl.

Along the lines of the band met- “At this point, it takes so long to

“Mary Anne Hobbs’ radio show is a daytime show, which has something like four million listeners,” explains guitarist and creative mastermind Stephen O’Malley regarding the live show behind the recording. “So, the context is quite strange for an underground, experimental band. But her vision is so great, and she obviously sees the importance of doing projects like this. We’re very lucky and grateful that people have really paid attention to what we do and aphorically not existing with an created a community around audience, they literally do not our music.” exist without collaboration, as the core of the band is O’Malley O’Malley expresses that without handling guitar and synth, and the feedback from the fans in Greg Anderson, his main colthe audience, Sunn 0))) don’t laborator, doing the same. On really exist, and for anyone this album, Tos Nieuwenhuizen who has been lucky enough to also contributed Moog Rogue catch a live show of theirs, the synthesizer playing; Stephen sentiment makes a lot of sense. Moore played trombone and The momentum of the band is synth; Tim Midyett played elecdriven by the literal feedback tric bass and synth, and Anna from the amps and the live von Hausswolff herself contribsetup, as well as feedback from uted vocals and synth. the crowd, creating a ritual setting, and without that, the “Our communication and sheer power and heaviness of appreciation of the musical the band doesn’t make as much constellations that happen

“OUR COMMUNICATION AND APPRECIATION OF THE MUSICAL CONSTELLATIONS THAT HAPPEN WHEN YOU PLAY TOGETHER IS AN EXTREMELY IMPORTANT PART OF THE PROCESS.” get something pressed that the record might be finished, and then it’s ten months to get copied, and that’s double what it was back in 2018, or longer,” he says. “It has made it complicated and challenging to put out this record in a cohesive way, but we pressed some in the U.S. and some in Europe to help with the logistics of the release.”

on a bunch of people’s favorite albums of the year lists,” O’Malley says. “A lot of fans are posting photos of the records, and I think it’s been really positive. I haven’t really done too much press, so I haven’t gotten a lot of direct feedback from critics, but that’s also never really been my gauge of how the music is received. For me, it’s about the fans, and if they’re embracing it. That’s what means something to me, not being on the cover of a magazine or on TV.” And indeed, their cult-like following is definitely happy with this slice of live music, especially during a time when live performances are still tenuous and rare. But as wonderful as this record is, there remains, of course, the million-dollar question: will we actually be able to get what we all crave and see Sunn 0))) in a live setting? Tentatively, yes.

“I think ‘tentative’ is a good word,” says O’Malley about future plans. “We’re talking about things, but even if our plans get confirmed, the attitude is, everything is tentative right now.

We don’t want to jump the gun and create expectations that may not be met. We don’t want to create excitement and anticipation and then have to pull stuff because it was announced too early. We just don’t know what’s going to happen in June or October.”

Still, despite the awkward release schedule, the most im- Regardless of this tentative portant thing is that the fans are timeline, Sunn 0))) are as eager responding well. as ever to connect with fans and audiences, so look out “The audience has been very ex- for more tour and music ancited, and I’ve seen the record nouncements coming soon. 💣

NEW NOISE 57

BORIS INTERVIEW WITH GUITARIST AND VOCALIST WATA TRANSLATED BY KASUMI BILLINGTON BY DOUGLAS MENAGH

W,

the new album by Japanese band Boris, is like a work of modern art.

Released through Sacred Bones Records, W is an avant-garde album that sounds like a painting colored by sound, evoking the quieter moments found on the band’s earlier albums such as Pink.

Synthesizing these calm movements and quiet interludes, W creates a stirring and profound musical journey.

Boris connected with Sacred Bones Records through Uniform.

“We toured with Uniform for the 2019 U.S. tour,” says Wata. “They’d released music via Sacred Bones and introduced us. Uniform has great sound and personality, so we were naturally drawn to the label they released music through. Sacred Bones also has released music for Jim Jarmusch and music from movies, so we’ve related to them.”

W is reminiscent of film soundtracks from movies shown in modern art galleries. Filming for the music video of “Drowning By Numbers” took place at a showcasing for dance. The music video amplifies the modern art elements found on this album.

“It originally developed from a collaboration with Kei Miyata, a founding member of KARAS, which is a contemporary dance company,” says Wata of the music video. “For the showcase, we put together a 40-minute show with dancers along with unreleased sound sources.

“When making the music video for the album release, we made a video with Yukiko Doi who is one of the dancers.

She’s a dancer whose body knows a wide range of dance languages from neoclassical ballet to contemporary dance. Her overwhelmingly beautiful dance led us to develop our ideas.

After multiple meetings, we kneaded together a dance piece with her and the large hat, which is also symboli-

58 NEW NOISE

PHOTOGRAPHY Miki Matsushima

cally used in the album artwork.”

There is a powerful connection between W and NO, a loud, heavy, and experimental record. While the albums sound different from one another, they are quite compatible with each other.

“The first impressions of NO and W may be that they have a completely different atmosphere and sound image,” says Wata. “The violent emotions of NO, the calm emotions of W, these conflicting emotions are ones we constantly have. Both feelings coexist and occur in the world at the same time. As we reached completion, I think the relationship between the two albums became more evident. If you connect the two album names, it becomes NOW. I think it’s work that represents the world we currently live in. The two became one piece of work through a natural path.”

“I feel that the process of making the albums has become ‘healing’ for us,” adds Wata.

On W, Wata is the vocalist. Her singing gives this album a whispery quality that compliments the subdued instrumentation by Takeshi and Atsuo. “For NO, Takeshi and Atsuo were the main vocalists from the beginning,” says Wata.

“With W, we began album production with me as the main vocalist.”

Boris are immensely productive.

Wata says, “Atsuo and Takeshi are very fast-paced, and whenever they think of something, they hop in the studio and record. That’s the benefit of self-recording. It’s comparable to coloring notes and sketches to complete an artwork in an atelier.

There are many partially complete artworks in the atelier, and also many notes with ideas.”

She adds, “For me, I could be compared to someone who is layering colors on those partially made artwork. It may be more appropriate for us to be called painters rather than musicians. It’s not like we work for any company, so not only with music, but we also handle design and operate ourselves too. It’s a very DIY activity.

The roles are split well among the team, so that would be why we can keep continuing our work too.”

Boris have been together since 1992.

For Wata, Takeshi, and Atsuo, being in a band is quite literally their life.

“This is our life itself,” says Wata. “I can’t think of any other path. With COVID, we experienced many difficulties, but we’re extremely thankful we’ve been able to continue producing with our support from fans worldwide. I’m really glad we’ve had the chance to travel to various countries.” 💣💣💣

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59

THE BIRTH OF DEATH:

40 YEARS OF CHRISTIAN DEATH INTERVIEW WITH FRONTIER RECORDS OWNER LISA FANCHER, PHOTOGRAPHER EDWARD COLVER, AND GUITARIST RIKK AGNEW BY JANELLE JONES

PHOTOGRAPHY Ed Colver

60 NEW NOISE

record in my opinion, from beginning And so, it was like, ‘OK, Christian Death,’ to end,” continuing, “There’s not a bad whatever.” note on that record.” He adds, “I’m thrilled to have worked on it. And I’m “But when they went out, they started thrilled to be friends with them still.” He playing, these kids were there all mentions that drummer Belanger is dressed like they were going to a fustill his best friend. “They used to call neral. Now you have to remember, this was like 1981, so we were just going like, me their fifth band member.”

‘Hey, I guess a bunch of kids just came Of his book, the photographer says, from a funeral to go to a punk show.’

“It’s a 12-by-12, thick, heavy book. It But then they were all quiet and stuff, weighs quite a bit. It’s kind of amaz- and they started lining up these lilies, ing,” Colver says. “I’m surprised at me, like, making a stage border with lilies, even, because, well, I did have a lot of and this organ music was like ‘Brrrr...’ photographs of them.” This book is his and I’m just going, ‘This is fuckin’ cool. second, following 2006’s Blight at the This is amazing.’ And the rest of the guys were just like, ‘What the fuck?’”

End of the Funnel.

P

receded by the clanging of church bells and shortly followed by drums, guitar, and bass that set an all-encompassing moody, dramatic, exotic tone, vocalist Rozz Williams chimes in on Only Theatre of Pain’s opener, “Cavity - First Communion,” crooning, “Let’s skirt the issue of discipline, let’s start an illusion with hand and pen ...” And thus begins the unforgettable, unmistakable journey into Christian Death’s monumental 1982 debut LP. The album that ushered in the true beginning of death rock, that was spawned from the insanely inspirational SoCal punk scene, is turning 40 years old this year, and in wonderful fashion, Frontier Records, who first released the album, and Cult Epics, are releasing an amazing special edition deluxe box set. This limited-edition release features a double-vinyl gatefold album that includes the full album plus remastered demos and outtakes, photo poster, and a 12-by-12, hardcover book of rare and never-before-seen Christian Death photos shot by acclaimed photographer Edward Colver.

This book also includes interviews with Colver, Frontier Records owner Lisa Fancher, and the remaining band members who made up this classic lineup of the band—guitarist Rikk Agnew, bassist James McGearty, and drummer George Belanger (vocalist and lyricist Rozz Williams sadly died in 1998).

And I was like, “I don’t think I have enough to do anything with it, like, super deluxe edition, but I did! So, that’s been in the works for a good solid two years.”

Fancher stresses of this album’s timeless importance: “So many people have told me it’s their favorite record ever,” adding, “People super dig this record. It’s definitely, I think we put that in the press release, considered one of the best goth records ever made, if not top five, if not number one.”

Thinking about its inception back then, Fancher discloses, “People liked it right away. There wasn’t even really a formal what we’d call a goth movement then.” Reminiscing, she says, “[The compilation] Hell Comes to Your House had come out but it was a pretty bubbling under movement. There was 45 Grave; there were some people who were gothy, skull, whatever, but I don’t even know if people called it goth or death rock or anything, all the names over the years, at the time. It was pretty early.”

“There was a thing going on in England, and Bauhaus and stuff, but definitely way their own twist on it. Christian Death obviously was so blasphemous, whereas Bauhaus were just whatever you wanna call them or whatever their motivations,” she says. “Rozz took it to a whole new place.”

Guitarist Rikk Agnew, who, prior to joining up with Christian Death and adding his special sonic sound, calls the band “my frosting, my decorations, and my candy.” He had been playing in hardcore punk luminaries The Adolescents and talked about the album and its importance. “I’m just as proud of it today as I’ve ever been.”

He goes on, “Then they played four songs, and it reminded me of Black Sabbath, a punk version of Black Sabbath because they didn’t have Rikk Agnew yet; they didn’t have me yet to shape those songs, so it was just kind of the skeleton so to speak, no pun intended, of the songs. It was just slower punk rock/Black Sabbath-sounding.

They had this singer who was amazing looking,” Agnew says. “And he just kind of mumbled into the microphone, but breathy and like, ‘What is this?!’”

Looking back, he says of the band’s signature sound: “We always called it death rock. When people started going, ‘Well, it’s goth.’ It was, ‘No, it’s death rock.’ We called it death rock. After the show, Agnew says, “I saw That’s what it is. Goth is your kind of George and James outside. And I’m all swirly whirly buttholios, do their spin- like, ‘Hey you guys. You guys are amazning skirt thing,” he laughs. “We’d call it ing.’ We just got talking more and more. doing the sweep because it looked like We exchanged numbers, and I was like, they were sweeping with a broom.” He ‘You know what would really make your band’—well, I didn’t say pop back then, says simply, “It’s punk rock. It really is.” but I go, ‘You know what would be great?

As for how Agnew got together with To have really weird, scary, out-there the band when it consisted of Williams, guitar and keyboards put on top of this.’”

Belanger, and McGearty, he interestingly explains, “They opened for us at “Since I was a little kid,” the guitarist a show. Adolescents were headlining, divulges, “I always thought, I want to and in fact, that show, we got another start a band that was like watching band to play, we split our time with The Munsters and Groovie Goolies […] them, and it was their first show, they and Phantom of the Paradise was a big were called Bad Religion. It was in influence early on. Without that movie, Pomona at a boxing gym, and we saw there would be no Christian Death. It the list of bands that were playing came out in the mid-’70s, maybe a that night and the opening band was little earlier, it was just so influential.”

Christian Death. And it was like, we He adds, “Magic and horror. Just dark didn’t know they were going to be all things. Just hanging out at graveyards spooky and everything. We just thought and being all herky and jerky.” 💣💣💣 it was a punk rock name, which it is.

And speaking of Edward Colver... the “I think people will be stoked by it,” photographer explains he “was rather Fancher says. “It’s a good tribute to omnipresent in the L.A. underground what was their 40th—somehow, acci- punk scene for about five years dentally, we got it out on time. By sheer four or five nights a week shooting accident got it out in time to be 40 photographs,” from the late-’70s to [years]. I was surprised when [Colver] early-’80s. dug those [photos] out because he’d been talking about it for years. I was “I was introduced to Christian Death like, ‘I’d love to do something.’ I don’t because of my affiliation with [guitarsell books. I don’t know how to put a ist] Rikk Agnew and The Adolescents. book together and sell it.” So, she says He joined Christian Death and then I it’s great that Cult Epics head Nico B. was there,” he explains. produced the photobook.

“It’s an amazing record,” Colver says “[Ed] Colver approached me to do it. of Only Theatre of Pain. “It’s a flawless

NEW NOISE 61

of recording an album is not that dissimilar from the experience of being in lockdown, so I don’t think we felt particularly caged in. We were masked and kept it sanitized.

We didn’t go out drinking or eating anywhere. Brett had a newborn baby at home too, so we had to be mindful and remember there was something going on that was bigger than us.”

ero-normative romantic couple, it’s rarely as simple as, ‘I love you, but you don’t love me back, and therefore I am sad.’ It’s probably closer to, ‘I love you, and you don’t love me back, and I’ve not been taught how to deal with not getting what I want, so I have to reexamine a lot of what I know to be true to work through this situation, therefore I am sad’.

“A big part of the lyrical and emo“Something Sweet” opens the album tional content for this band comes with a compelling beat, and But- from a place where I’m realizing ler’s pleading vocal climbing up that I was raised to believe that the into his falsetto range as he begs world was going to be my oyster. I’m for love and freedom. They bring having a hard time navigating a a hard rocking edge to the do-wop world that feels like it’s not set up in arrangement of “Crybaby (On the a way to benefit me. I can choose to Phone),” a song lamenting the end take that personally, but I’d be igof a relationship, with bewildered noring the fact that there’s a whole cries of anguish. They amp up the world of people struggling with the tempo on “White Trash Millionaire,” same, or worse problems. picking through the rubble of a disintegrating affair with a jaunty “In fact, I’ve been given more tools indifference, supported by unspec- and resources to navigate the sysified controlled substances. tem than many others. Rather than sit around and feel bad for myself, The songs all deal with love, heart- I want to take responsibility for my break, and the difficulties of main- actions and my life. Regardless of taining an ongoing relationship, but how we feel about it, we—as white the lyrics are a lot more introspective men—have to make an effort to try than those of your average pop hit. and recognize how our privilege affects our experiences and to “It would be pretty distasteful, if not check ourselves when we come into irresponsible, to write songs about conflict with others, or the ones we heartbreak, relationship failure, love. These songs are a big part of and depression, if I didn’t try to me giving myself the space to take recognize my own privilege,” Butler a step back and live in that disapsays. “Understanding how my back- pointment in myself, identify the INTERVIEW WITH GUITARIST, PIANIST, TROMBONIST, ground shapes my experiences and things I want to change, and hopeAND SONGWRITER ERIC BUTLER BY J. POET expectations is a big part of what fully manifest them into happening.” inspires me to write lyrics. When 💣💣💣 weet Tooth, the third album by I think it means that there’s more feelings get hurt in real life, in a hetBerkeley favorites Mom Jeans, dimensions and depth to the band PHOTOGRAPHY out on Counter Intuitive Re- and the songs.”

Cody Furin cords, rocks hard from start to finish.

Chiming guitars, jolting rhythms, The album took almost three years shimmering vocal harmonies, and to write and record, partially due to memorable hooks make every song the COVID lockdown. sound like a hit.

“We spent a good year and a half Guitarist Eric Butler says the album touring behind Puppy Love (2018), marks a shift in their approach. our second record, so we were ready for a break, even before “We consciously worked with (pro- COVID,” Butler says. “Being stuck at ducer) Brett (Romnes—The Front home, bored and unable to work on Bottoms, Oso Oso, Dogleg) to make our other projects—Bard, Sam, and it big and loud. It was the most Austin all play in several bands— collaborative songwriting and forced us to put some creative recording experience that we’ve energy into Mom Jeans. Being in a ever had as a band. In the past, setting where we were able to take (drummer) Austin (Carango) and the songs at our own pace allowed I did the majority of the songwrit- us to do our best work. ing, and I did almost all the lyrical writing. Having two more excellent “We wrote the majority of the record performers and songwriters at our via email, demoing out all our own disposal in (bass player) Sam (Kless) parts, which was a lengthy process. and (guitarist/synth player) Bart It wasn’t until 2021 that we were (Thompson) made it so everyone able to safely get to New Jersey in the band had a voice in almost and into the studio with Brett. To every decision related to the songs. be honest, the intense experience

MOM JEANS S

62 NEW NOISE

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have now, like Toyota Tacomas or Mercedes Sprinters, that are all decked out by ridiculous survivalists.

“For me, being a gear and tech guy, I kind of have my initial reaction of, ‘Oh man, that’s gnarly.’ But then you start thinking about it, and it’s so unnecessary. These cars have computers inside. If you are really going to survive in the wild, you can’t have a car with a sensor that can go bad and break down. So, there’s something really ridiculous about that, and then you see they have all these upside-down flags in their windows, and Blue Lives Matter and all that bullshit.

“And I just sort of feel like that became a theme for the album, the breakdown of society, survivalists, people living off the land, and people fantasizing about that scenario.

The fact that surviving and having to fight is so attractive to people that they fantasize about it, even if they don’t know what it entails.”

The album is accompanied by a series of videos that portray frightening aspects of technology, like drones and survivalist vehicles, police and surveillance.

“It’s this conflict between both loving technology and realizing the downfall of society due to it in a lot of ways.”

While Shone may realize the conflicts he has with machines as a member of the human race, he’s also much beholden to the machines he uses in synthesis and production to create his unique sound. So much so, in fact that he will now be selling his signature, musical contraptions, called “Drone Machines” after his album, for other musicians to use in their art.

PHOTO Becky DiGiglio

AUTHOR & PUNISHER INTERVIEW WITH PROJECT MASTERMIND TRISTAN SHONE

BY ADDISON HERRON-WHEELER

W

hile dystopian tales have become almost cliche in 2022—we are living in a not quite post-COVID-apocalypse world, after all—Author & Punisher have found a way to keep the topic new, interesting, and downright terrifying with their take on technology and doomsday prepping on Krüller.

64 NEW NOISE

“It’s basically going to be a boutique controller machine company that makes hardware utilitarian interfaces for sound that you can plug into your computer, or you can use with modular synthesizers and analog and digital gear. Very similar to what I play on, but a little more robust. We have prototypes in process, and I’ll be using the gear on the road with me as well.

Out now via Relapse Records, the “I got more into nature and hiking “Things will be more open source, industrial doom and drone album during the pandemic, as many did, and the materials I use are metals combines the signature production and getting into that got me thinking and woods, no plastic, you know? stylings of Tristan Shone with gui- more about, I guess you call it ‘prep- You can order all the innards and tarist Phil Sgrosso, giving the album per culture’,” Shone says. “Some of electronics, so if something breaks, a heavier, more ripping feel. The the themes and books I was reading, you’ll be able to order new parts presence of guest musicians and by authors like Octavia Butler, Ursu- rather than some plastic thing more guitar work on this album la K. Le Guin, and Margaret Atwood, where you have to buy a whole new brings a fresh take to themes that they’re really sort of talking about item. These are intended to last for are dark even by today’s standards. these vehicles that people literally a long time.” 💣💣💣

he should be turning a blind eye to what is going on in the world.

“If problems exist, we should be addressing those issues. Sure, we are just a band, but we are communicating with the listeners through the tool that we have created,” he says. “And that might not even be just about the lyrical content. I hope someone like Jake Angeli would hate our band right out of the gates, before he could even grasp what I’m singing about. I mean, the dude compared himself to Jesus Christ and then cried to his mother about not having organic meals in prison, a grown man did that.”

It’s also important to keep a sense of humor, while dealing with these heavy subjects. In fact, Pearson thinks this is a key ingredient to the music he creates, whether with Deaf Club or with one of his other bands.

DEAF CLUB INTERVIEW WITH VOCALIST JUSTIN PEARSON

BY THOMAS PIZZOLA

D

be as clear without words, but to me, it reflects the world that the players live in.”

In addition, Productive Disruption was recorded on the same day that the right-wing insurrection at the U.S. Capitol took place last year. While some bands might see this as merely a coincidence, Pearson doesn’t think so.

eaf Club, the new band featuring vocalist Justin Pearson (The “I think the world we live in is reflected Locust, Dead Cross, Three One G Records), along with Brian Amalfitano (guitar, ACxDC), Scott Osment (drums, Weak Flesh), Jason Klein (bass, Run With The Hunted), and Tommy Meehan (guitar, The Manx, Chum Out!), have released their debut full-length, Productive Disruption, to a world mired in strife.

in the art we create. They certainly helped write our album,” Pearson says. “A multifaceted array of emotions such as depression, sorrow, anxiety, and yeah, anger, were all present.

I suppose I was just left trying to figure out if police lives really matter to them or not.”

In addition, the lyrics reflect the society that is currently right outside our doors. Pearson doesn’t believe that

“One thing I learned at an early age is humor wins. My first band, Struggle, was overly political. There was no room for jokes, which was fine, we were fifteen and sixteen and very pissed off. But I think if you are performing to the opposition, the only way you can grab their attention is by being clever and to use wit whenever possible,” Pearson says. “And if you are performing to your community you’d hope and assume they are already on the same page. Either way, humor is a decent tool to have in your back pocket, and that tool can reach a bit further out than without it.” 💣💣 PHOTO Becky DiGiglio

The new full-length is a complete blast to the status quo, using hardcore, powerviolence, straight up noise, along with witty, inclusive lyrics to take straight aim at the issues of the day.

While being positive, Pearson also frames his lyrics as continuing a tradition of protest music passed down through the decades.

“Most of what we do is typically viewed as protest music. When you love something, you fight for it,” Pearson says. “It must be nice for those people who write lyrics about peaceful things, or arbitrary non-descript stuff, like musical fluff. Even if we were an instrumental band, and I wasn’t the vocalist, I’d listen to the sounds and hear a message. Perhaps it wouldn’t

“Most of what we do is typically viewed as protest music. When you love something, you fight for it.”

NEW NOISE 65

SHAMIR INTERVIEW

BY KEEGAN WILLIAMS

S

hamir’s new album Heterosexuality, out new, is the first in his discography to directly confront his queerness, though that’s not to say he hasn’t already talked about it.

“It’s kind of just me yelling from the mountaintops for the first time,” Shamir says. “I’ve been out—nonbinary, queer—and talked about my identity since the beginning of my career. You know what I mean?

Especially in my debut, it wasn’t even exclusively about my queerness. People only want to talk about my identity and my queerness, and I would never talk about my music, and I’m just like, ‘Yeah, that’s annoying.’”

In that sense, Heterosexuality (a name Shamir says he landed on for the sake of trolling) acts as an exercise of working through trauma, and initially, he had some reservations about putting his queerness thematically at the forefront of a record.

“I’m just like, ‘Oh God, am I gonna revert back?’ Because I had worked so hard to finally, for the last couple records, finally [people] started talking about the music, you know?”

The record was produced by Hollow Comet, a member of Strange Ranger, and the timing was ideal for Shamir, who called music a “solitary, introverted experience,” a silver lining and compliment of sorts to the isolation of the pandemic.

“The more time I spend alone, the more that I have on my own, the more creative I am,” Shamir says of the album pouring out of him.

Sonically, he notes that all of his albums are so different, though it’s never on purpose.

This was also the first record where Shamir worked with a singular producer since 2015’s Ratchet, and in doing so, it was important that Shamir incorporated Hollow Comet’s artistry into the record as well.

“We’re not trying to outdo each other,” Shamir says. “I’m not trying to be like, ‘You need to iron out all of your individuality to be what’s best for my

66 NEW NOISE

PHOTO Marcus Maddox

songs and he’s not like, ‘You need to make sure your song is doing my production justice.’”

stories behind them in 2021. In retrospect, he says it was overwhelming but affirming to release a book this early on in his career.

sustainability issues, he says their process was something he could feel good about.

Instead, it was perfect blend of “It was just very me, and so wild. I creative brainstorming and col- “It feels like a nice first step, and I was like, ‘Yes, this is something that laboration, Shamir noting Hollow definitely want to expand on that,” I would wear. This is something that Comet’s “really specific cosmic he says. feels like me.’” palette” that he didn’t want to lose, nodding to some of the more To add onto his growing resume, Shamir looks back to 2021 and says, industrial and metal elements Shamir also partnered with the for better or worse, he said “yes” a that fit nicely with Shamir’s more AI design studio, Urbancoolab, to lot. launch the Bipolar Butterfly cloth‘90s-leaning pop influences. ing line in 2021, which donates “I’m more tired than I thought I would Heterosexuality also comes after a portion of the proceeds to the be by the end of this year,” he laughs, a year of Shamir exploring other National Alliance on Mental Illness. “but I’m glad because it was really endeavors outside of music. He re- While he says he’s always felt leery cool to kind of try all these different leased his first book, But I’m a Painter, about approaching apparel given things I never thought I would be chronicling his paintings and the the prevalence of fast fashion and able to do.” 💣💣💣

PHOTO Zach Thomas

DAN ANDRIANO & THE BYGONES INTERVIEW WITH DAN ANDRIANO BY GEN HANDLEY

D

an Andriano is done with the darkness. For years, the singer-songwriter But even with the talented siblings at his side, Andriano admits making this record and co-vocalist/bassist of Alkaline Trio pursued vices and villainies of all was a little intimidating. sorts, eventually leading him to a place where he no longer wanted those things in his life anymore. It’s this new attitude that energized Andriano’s new “Doing this by myself—I wrote and produced the record—it was a little bit terriproject, Dan Andriano & The Bygones and their new album, Dear Darkness, fying,” he continues. “But it’s liberating, too. I tried really hard not to obsess. I’m here and I know I like these songs. I can’t obsess about this one lyric, or I don’t out now Epitaph Records. want to overthink this drum part. ‘Just go with your first instinct,’ is what they used “The [title] is about actively deciding to not seek out that darkness. I kind of did to tell me.” that for so long through whatever it is, drugs, or drinking, or various other dark activities—pick one,” Andriano laughs from his Chicago home via Zoom. “But a Wielding his first instinct and inklings, Andriano found a freedom to do whatever lot of it just comes along with being on tour. A lot of it feeds into depression that’s he felt in the moment, an opportune time to embrace his newfound optimism already there and existing. You’re going to deal with dark things, whether you and outlook on life.

“I don’t mind being in the light, like it or not, so actively seeking and I don’t mean from a rethem out and bringing them upon ligious standpoint in any way. myself, that’s not for me anymore.”

Just to be clear, I mean it purely from an energy standpoint,” he Talking to Andriano, he seems explains. “Where I want to be to be buzzing about these songs is bright right now, and there’s which, if you’re familiar with his past work with the Emergency Room, radiate a shifted, more playful and positive lots of colors, and there’s lots of ideas and musical notes flying around. It’s difenergy. While known for his work with the incredible Alkaline Trio, Dear Darkness ferent from when you’re just sitting in the darkness waiting for the next whatever confirms Andriano’s undeniable skill as a songwriter, finding a new energy with else it’ll be.”

Bay Area brothers and musicians Randy and Dylan Moore, as well as Nick Kenrick.

This album is Dan Andriano completely unbridled and optimistic; ten forthright But Andriano makes it clear that the freedom he’s found on this album does not imply that he experiences the opposite with his main band. songs that sum up his current state of mind and heart in the way he knows best.

“WHERE I WANT TO BE IS BRIGHT RIGHT NOW, AND THERE’S LOTS OF COLORS, AND THERE’S LOTS OF IDEAS AND MUSICAL NOTES FLYING AROUND.”

“When we first got together, we were playing, just kind of jamming, and then we “What me and Matt (Skiba) and Derek (Grant) have is pretty special,” he says with played a song to see how that goes,” he says about the instant chemistry he experi- a smile. “As Alkaline Trio, we like to do whatever we’re feeling at the time, and I enced with the Moore brothers. “One of us started playing something that sounded feel like we’ve made some pretty different records over the years—different from like “American Girl,” and within a few bars, I looked at Randy (and) we just started each other.” playing “American Girl.” He was singing, I was doing back-ups, and Dylan was there, and it sounded killer. And then we played some songs by the Beatles, and I was like, He laughs, “But we also realize the band can’t go out and write an album that sounds like Willie Nelson. It’s just not going to work.” 💣💣💣 ‘Alright, you know a lot of stuff.’ And they giggled because they know a lot of stuff.”

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69

N8NOFACE INTERVIEW BY J. POET

N

8NoFace has been a cyberpunk pioneer since he first appeared on the scene in Tucson, Arizona with the Crimekillz duo.

“That band planted the seed for what I’m doing now,” NoFace says from his L.A. home. “I did punk with Gameboy sound effects with my friend, Scumbag Tony. He was the producer and knew how to modify the Gameboys, but I didn’t.

When we broke up, I learned how to produce. I got a synthesizer and drum machines and continued on.

“The story telling was the same, memories about growing up along the Mexican border, my addictions, and getting sober. I learned to play a bit of everything—synthesizer, piano, a broken bass with two strings. I sampled beats and chopped ‘em up to make ‘em my own. People said, ‘That’s dope.’ I always had people digging what I was trying to do, along with those who were, like, ‘What is this?’”

Since going solo, NoFace has been prolific. He’s released 11 albums and EPs, leading up to his latest record, Homicide, out on Blackhouse Records on January 12.

“Homicide was my way of saying, ‘I’m getting ready to kill it.’ I’m clean and sober, and I’m ready to fight for my music with a new energy and a new mind set. It’s a thank you to everybody that supported me and stuck with me through the dark times.”

The 17 tracks on Homicide are bristling with energy. NoFace prides himself on demolishing musical boundaries and moves effortlessly between punk, rap, metal, funk, EDM, and spoken word. Many songs clock in at less than a minute, eruptions of socially conscious observations married to wild bursts of rhythm and unforgettable hooks.

“A distorted jab of synth punk introduces “A Joy In Death” a tribute to the commitment of a partner

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willing to stick out a life of poverty and hardship. “Hate Me When I’m High” is an apology for the harm caused while stoned or drunk, with a hint of Ramones in its delivery. The bright synth line and funky drum loop of “On My Side” is pure pop, a pledge of fidelity to a devoted lover.

NoFace said many of the songs were composed, mixed, and produced during various stages of the pandemic.

“I didn’t write specifically about COVID. I was just capturing the general sense of anger and frustration of me and other people I know.

I made all the music in my closet, with only enough room for one guy to sit down in a chair. I recorded on a desktop computer with one mic, a couple of synthesizers and a drum machine. I suck at engineering, so I just mix it and whatever comes out, comes out. Then it gets sent out to mastering to get pressed up. I’m not opposed to a big studio, it’s just the way I can do it with my budget.

“I quit my day job while I was working on the album and started doing virtual shows that got me noticed. I haven’t played any of the new songs live yet, but I love performing. I go up there with my mic, drum machine, and synthesizer. My songs are all short, so sometimes I have to play a lot of them to fill a set. I can say all I have to say in 16 bars, but now, I’m starting to write longer songs. I’m all about song structure—three verses, two hooks, and a bridge, but I’m also anti-rules.” 💣💣💣

PHOTO Valerie J Bower

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as the full support of his bandmates, to write and record a very impressive debut solo record, Don’t Go Throwing Roses in My Grave, coming out on February 18 via Epitaph Records. (And when I say full support, it’s not an exaggeration: Menzingers’ Eric Keen was on bass, Joe Godino was on percussion, and Tom May took the record’s cover photo).

Pensive and rousing, Don’t Go Throwing Roses in My Grave is also emotional and sometimes-haunting, 10 vignettes from the mind of a talented singer-songwriter who had a rough year and wanted to remind himself that he needs to pause and appreciate life once in a while.

GREGOR BARNETT INTERVIEW BY GEN HANDLEY

“It’s kind of a heavy record, and right when I wrote the (album and song title), I thought it really summed up all of the lyrical content on the album of just appreciating life in the moment,” he explains. “I feel like I’m always looking towards the future or backwards at the past.”

He pauses for a second.

“Don’t celebrate things when they’re gone, let’s celebrate now,” he adds.

“Having a year off in the pandemic just really drove that home ... not being able to travel and see my family and friends.

I realized how quickly I rushed through things, and I don’t always enjoy things as I should sometimes. I just wanted it to be a celebration of life, really.”

While the songs are big and full of life, this isn’t the punk album some Menzingers fans might expect. Leaning in to more of an Americana vibe and sound, Barnett looked to different wells of inspiration for this record.

“DON’T CELEBRATE THINGS WHEN THEY’RE GONE; LET'S CELEBRATE NOW.”

T

he squabbling, infighting rock band has almost become a cliché—partially because it gets online clicks and partially because it’s true. The trials, tribulations, and tension of long tours on the road can become legendary, in some cases helping define the band and artists themselves. But once in a blue moon, a band comes along that not only makes amazing music, but genuinely like each other, and do normal stuff when they’re

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not playing or writing music together.

One of these bands is The Menzingers.

Surprising because of how much they tour, but not surprising because that affection and chemistry is everywhere—in the music, on stage, and in this interview.

“Most people are kind of surprised at how close we are. They’re like, ‘Wait, what? You go on tour all the time, and

“I’ve always loved the singer-songwriter style of music and definitely things that verge on the edge of dark tones,” he admits. “I love Tom Waits, and during the pandemic, I was listening to a lot of Nick Cave and stuff like that. I’ve always really written story-telling type songs, and I wanted to write music that reflects that storytelling vibe a bit. Yeah, I definitely grew up loving this style of music, loving dark themes in songs, and I wanted to take this time to explore that.”

As 2021 comes to an end, Barnett looks forward to playing these new songs live, as well as working on a new Menzingers record.

“Yeah, we are in the very, very early phases of writing an album,” he says. when you come home you still hang out?’” “We’re looking to record it in 2022, but says Menzingers co-vocalist and guitarist it’s been crazy because we haven’t had Greg Barnett from his South Philly home, any time off from touring to focus. But where he is within walking distance of the now, this winter, we’re really going to three bandmates he’s been playing with dive into it. We’ve been bouncing ideas for 15 years. “But yeah, we all live in South off each other and compiling stuff and Philly, and I love it.” are in the very early phase of putting an album together. Yeah, it’s awesome, But even more importantly, what this and it’s exciting, and it’s my favorite dynamic shows us is that despite living part of the band getting together to in the same immediate area, Barnett write music. I’m really looking forward still had the freedom and space, as well to it.” 💣💣💣

BILLY TALENT

INTERVIEW WITH JONATHAN GALLANT BY JOHN SILVA

W

ith over 25 years of experience under their belt, Billy Talent have become a powerhouse Canadian rock group. It’s impressive for any band to stay together and stay relevant for that long.

What makes it even more impressive is that the lineup has not changed since their inception in 1993.

er, the band’s longstanding career is due in no small part to their relentless hard work. They put extra care into their music, ensuring that they’re still cranking out bangers decades later.

work and put the time in that is necessary to create good material.”

Like many artists, Billy Talent were affected by the pandemic, which delayed the release of their new album, Crisis of Faith. After multiple delays, they finally decided it was

back while the world figured out how we were going to get out of the pandemic. Ultimately, we didn’t want to wait any longer and decided on the current release date,” Gallant says.

The album couldn’t come at a more necessary time. With many people falling into deep depression, songs like the single “I Beg to Differ” offer a message of hope and encouragement.

“WE CARE, AND WORK ON SONGS UNTIL THEY CAN’T GET ANY BETTER FOR US.”

“We’ve always loved playing together “We care and work on songs until they time to go ahead and unleash their “In regard to mental health, people are struggling more than ever,” Galand the music we make. Over the can’t get any better for us,” Gallant sixth studio record on the world. lant says. “We had (‘I Beg to Differ’) years, each of us have fallen into says. “Ian (D’sa, lead guitars) spends and embraced different roles to countless hours in the studio writing “We took time off the road to write ready to go, and people in our inner make the band function. Mainly, we and perfecting, and we all take an a record, then COVID hit just as circle really loved it. They thought, were born to make music and have approach to our instruments in a we were going into the studio. That and we thought, it would be a great been lucky to find each other,” says professional way, and practice. Also, caused major delays. We also had song to have out there. We are hapwe’re fortunate that we made good to deal with a few personal issues py that it seems to be resonating bassist Jonathan Gallant. decisions earlier in our career that that held things up. Once the album and helping people feel they are Alongside their love for one anoth- allowed us to build our own studio to was completed, we decided to hold it not alone.” 💣💣💣

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NEW NOISE 75

CHARGER

INTERVIEW WITH BASSIST MATT FREEMAN, AND GUITARIST ANDREW MCGEE BY DEREK NIELSEN

E

PHOTO Alan Snodgrass

ast Bay, hard rock trio, Char- hard-pressed to find someone more deal thing man, he just goes for it,” I don’t think he knew who I was,” laughs Freeman. guitarist Andrew McGee says. “He ger, consisting of bassist Matt clear-cut than Matt Freeman. gets the whole Lemmy thing, the Dio Freeman, guitarist Andrew McGee, and drummer Jason Willer, “Rancid was coming up on this thing, all the stuff he grew up on, “I grew up on the East Coast,” McGee elaborates. “When Operation Ivy make no attempts to hide their love break. We had a pretty big year in and he just lets it rip.” was around, I’d heard of them, but of Motörhead. It’s reflected in their 2017, we just finished that first Bosmusic, their song titles, and even ton-to-Berkeley thing, and [Willer] The band incorporates some prog I didn’t really care. I wasn’t into was like ‘We should do something!’” elements like an extended organ ska! And when Rancid was around, I their artwork. heard them on the radio, but I was Freeman recounts the band’s incep- solo at the beginning and during the in a whole other world. I liked their bridge of “Dig Your Own Grave,” while “Motörhead was just one of those tion with drummer Jason Willer.

“Summon the Demon”- featuring guest songs, but Matt was just my friend bands that you’d be at the punk party and it always you came on it “And I’m like ‘What do you want to vocalist Jake Nunn from Hellfire- and Matt. The fact that he was in Rancid was cool, but we just used to drink was like, ‘Fuck yeah!’ You know what do?’ Because I don’t want to play is pure ‘80s thrash metal. beer and talk about baseball.” street punk. I’ve already played I mean?” Freeman explains. punk and ska. I don’t need to do that. “That song right there shows you how Freeman usually plays the part of He goes, ‘What do you like?’ And I much fun we were having,” McGee McGee thought he was just stepping in the straight-faced muscle in as the said, ‘I like Motörhead and Sabbath. says. “I mean, that song is just hilar- to help demo out some guitar tracks, bassist for his main gig in Rancid. His You want to play something like that? ious. We wrote that song probably but Freeman was happy with how three playing is dirty, frenetic, and precise That would be fucking fun.’ And it a year and a half before, then we members were sounding together. asked Jake to sing on it and he was (go listen to “Maxwell Murder” again was it just started out that way.” down. He came in and when he sang “Matt had an endless list of amazing if you need a reminder). This might that part, we were all jumping up guitar players that he could choose be a crude metaphor, but if Rancid And thus Charger was formed. and down in the studio. It was just from, so the fact that I’m playing frontmen Tim Armstrong and Lars with him just so happened that there Frederiksen were fists, Freeman Dropping March 18 via Pirate Press fucking awesome.” was a connection,” McGee recounts. formed the muscle that propelled Records, Warhorse encompasses everything the band grew up on, McGee entered the band when “When I went into that room, and Matt them into your face. from old-school punk, thrash, and Freeman mentioned he was looking was like, ‘I don’t give a shit. There’s a He doesn’t step up to the mic as doom metal. Album opener “Dev- for someone to record guitar on connection here. This is what it is.’” often as his bandmates in Rancid, astator” is elegant in its simplicity; their demos. The two had met years “I’m really lucky to be playing with but when he does, his gravelly bari- a wrecking ball of drums, a chorus ago when McGee began working at tone equally conveys raw attitude centered around a single word, and a bar in the East Bay that Freeman someone like Jason and Drew,” as it does melody. Suffice to say: if a dive-bombing guitar solo just long liked to hang out for happy hour or Freeman reflects. “I’m not trying to you overthink it, I’m just having fun A’s games. you’re looking for someone to carry enough to grab another beer. with it, writing songs and just having the torch for the late Motörhead frontman Lemmy Kilmister, you’d be “(Freeman) just gets to do the whole “This sounds really pretentious, but a good time.” 💣💣💣

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NEW NOISE 77

BY HUTCH

REISSUES: PHOTO Greg Cristman

OXBOW

JEROMES DREAM

LET ME BE A WOMAN BLACKHOUSE LTD

PRESENTS IODINE RECORDINGS

Oxbow is an evasive creature regarding a description. The band has powered through 30 years of heavy riffs and dissident noise.

Think Swans, Lightning Bolt, Boris, or Scratch Acid. Garnering respect and fear along the way, their reputation is hard-won. In 1995, the band hit the studio with legendary producer, Steve Albini, to record what would be Let Me A Woman. For some reason, the album only saw daylight via Dutch label, Brinkman Records.

Currently, the band sit right at home alongside Melvins and Mike Patton, as Oxbow signed to Ipecac Recordings for their upcoming 2022 LP, Love’s Holiday. Blackhouse Records Ltd are releasing Let Me Be A Woman, fully remastered by John Golden, with full package reconstruction on three different vinyl variants.

Noise rock perfection: bombastic, chaotic, and alluring. 💣

GARRISON

THE BEND BEFORE THE BREAK IODINE RECORDINGS Boston’s Garrison churned out emo/post-hardcore from 19942006 on labels like Espo, Revelation, and Iodine. Here Iodine reissues Garrison’s debut 5 track EP, The Bend Before the Break, originally released on Rev in 1999 that fits alongside Piebald, Quicksand, Drive Like Jehu, Texas is the Reason, The Get Up Kids, Hot Water Music, etc.

Garrison were revered for intense melodic vocals over technical guitar riffs and toured extensively through their existence, connecting with kids everywhere. Twenty-three years later, we get the OG plus three tracks previously unavailable on vinyl. Unfettered and eager, this now LP offers a specific moment in time. Iodine supplemented the record with a B-side that includes rare and previously unreleased material, from 1998 to 2004, their first seven-inch, 24, and their split EP with U.K.’s Hundred Reasons. All of these have been fully remastered along with a new moving cover by Dan McCarthy. 💣

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Iodine is also reissuing the 2001 LP Presents by noisecore champs Jeromes Dream. Twenty years old, and it still sounds urgent and fresh. In the JD-PresentsCover-Web late 90s, along with bands like Orchid, Swing Kids, and pageninetynine, Jeromes Dream elevated hardcore sounds with remarkable energy and persistence. With Kurt Ballou on the boards and Alan Douches mastering, Presents was a stunning, live sounding record. It was a marked departure, as they dove deeply into stranger and more abrasive mathcore and punk. Defying a genre label, Jeromes Dream created a swan song which would not be ignored. Now remastered by Jack Shirley at Atomic Garden, Iodine releases these blistering nine tracks more akin to Burnt

By The Sun, early Dillinger Escape Plan, and Deadguy. 💣

RARITIES:

SONIC YOUTH

IN OUT IN THREE LOBED RECORDINGS Cultivating unreleased tracks of meandering mental escapades, In / Out / In captures some rare moments from Sonic Youth’s musical excursions. Encapsulating music from 2000 through 2010, most of these tracks are the band pressing ‘record’ and seeing where the moment goes. A 2008 track, “Basement Contender” is the band in Kim Gordon and Thurston Moore’s basement. Experimental is not a new adjective for Sonic Youth, but these tracks go further than a studio album track and indulge in the immediate.

“In & Out” is a spacey, quiet dirge that balances atmosphere and a taut grip on the listener. 💣

SPLITS:

KILL YOUR IDOLS / RULE THEM ALL

SPLIT 7” FLATSPOT RECORDS

The lead single from this split of two Long Island hardcore acts, by Kill Your Idols, is titled “Simple, Short, and Fast.”

That title sums up the ethos and delivery of LIHC/NYHC Legends, Kill Your Idols. Their first song in 15-plus years, KYI reveals no secrets, as they scream as they always have: naked and honest.

Rule Them All have released two EPs, a split with The Fight, a single, and a live EP. Now, we get to whet our ears once more with RTA’s big riff sound. They have a great NYHC bounce with an Underdog/Token Entry vibe.

Two great bands, one old, one new, representing energetic hardcore from Long Island for 2022. 💣

LIVE:

EPs:

THE DROWNS KNOW WHO YOU ARE PIRATES PRESS

The Drowns have been around since 2018, dropping two LPs and a few EPs of glam Oi!punk rock ’n’ roll. This two-song, seven-inch EP on Pirates Press kicks off with a charging rock ’n’ roll cover from the mighty Slade, “Know Where You Are.” The Drowns are in their zone channeling Slade (or say, label mates, Suede Razors) for that glam rock, driving rhythm, hand clap, boot stomping vibe. But instead of all fun—and this ties back to their LPs—The Drowns have a contemplative sound: street punk with self-reflection, embracing a slightly darker tone. The flip side is even more so of that ilk, featuring a scorching guitar leading the listener through a bopping good time (complete with cowbell). If I wasn’t told it was an original, I would swear it was a ’70s, proto-punk, glam cover, too. Good times. 💣

TRENCH

ENCASED IN CHROME NEW DAMAGE RECORDS

ANNA VON HAUSSWOLFF

Fusing electronic layers of discord into heavy hardcore, LIVE AT MONTREUX JAZZ Trench utilize Encased in FESTIVAL (2018) Chrome to create atmospheric SOUTHERN LORD tension in between six tracks of absolute brutality. Like peers Anna von Hausswolff is an orHarms Way, Vein.fm, Code ganist that explores stark and Orange and with nods to elders haunting realms and relays like Slipknot and Sepultura, sonic explorations through contrast and transitions. Her Trench return after 2020’s full-length, Blossom. They increase the approach and openness feral savagery with conviction. Trench’s bombastic sound continues to vulnerability are a rare for four more tracks on the EP, which includes Detroit’s vivid wordcombination in music. Recent smith, Guilty Simpson (who has a killer solo career working with MED, years have seen her tour and perform with a wide array of Apollo Brown, Recognize Real, Gensu Dean, Small Professor, etc and peers. Von Hausswolff has toured the U.K. with Sunn O))) and is part of Random Axe with Black Milk and Sean Price - RIP!). has supported Nick Cave & The Bad Seeds, Swans, Efterklang, and Refused. She has collaborated with members of Wolves In Encased in Chrome embraces thunderous, polyrhythmic drums in The Throne Room, Swans, and Yann Tiersen. She performs at each track, placing sections of electro beats to set a sinister tone myriad festivals and has released four full-lengths, the most before the carpet-bombing campaign of riffs, growls, and low end.

The electronic respites let a listener gain a breath before getting recent, All Thoughts Fly, on Southern Lord. pummeled again. Layered vocals and piercing guitars and the Von Hausswolff’s resume certainly exhibits a stellar ability to tribal rhythms combine to construct an environment of chaos in a take her music down a dark trail, and she enlists this team of collapsing mind. Imagine being in a pit in a demolition site. 💣 musicians on Live at Montreux Jazz Festival; especially with a 20-minute track titled “Ugly and Vengeful.”

One of the musicians is Anna’s sister, Maria, on vocals. Five others help manifest six tracks of “distinctive music, as captured across five full-length albums, … shifting from hypnotic and mantra-like moods to thunderous drama, dissonance, and cacophony. The musicians master playful dynamics and wield immense power.”

DEMO:

ABSTAIN XXX DEMO WAR RECORDS

Unabashed adoration of ‘90s, metallic straight edge, this San Diego SXE foursome released four tracks of inspiring, passionate hardcore. Metallic Recorded at Montreux Jazz Festival in 2018, in Auditorium Stracrunch coupled with lyrics on vinsky. 💣 conviction relay a desperate plea for people to awaken. RIYL: Earth Crisis, Strife, Unbroken, Magnitude, Inclination, Ecostrike 💣

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ANALOG CAVE

BY CHRISTOPHER J. HARRINGTON

BECAUSE CASSETTES RULE HARD AND NEVER REALLY AGE, THE ANALOG CAVE IS HERE TO BRING YOU SOME OF THE BEST IN UNDERGROUND TAPES A ND COLLECTED VISION. A CASSETTE IS LIKE YOUR BEST FRIEND, YOUR MOST TRUSTED TRAVEL PARTNER, AND A SPECIMEN OF IMAGINATIVE FANTASY AND OTHERWORLDLY DIMENSION. POP ONE IN, AND TRANSFORM. RIDE THE HIGHWAY ETERNAL.

VATICINAL RITES MASCHE

DJ1986

Vaticinal Rites definitely has that old-school death metal vibe, but it’s lame to say that. I do love old-school death metal—it’s the best in fact—but new bands can’t be old-school death metal, and if you listen closely to Vaticinal Rites’s debut EP, you’ll hear it—this isn’t old-school death metal; it’s new-school death metal, which picks and chooses forms and expressions to make its own. A short, atmospheric opener gives way to three rippers that dig deep on riffs and explosive squeals, spastic motions, and dimensional grab offs. The band pulse psychedelic and are also driven by the earth, which is where that great death metal energy finds its heart. The riffs are never wasted; they veer towards extension, circular, propulsive, and then jaunt towards the celestial, where the band exercise their feel. There is so much damn feel here, like on “Flesh Portal,” where they just break out in groove, but not groove, real earth groove, which never loses the darkness.Vaticinal Rites rip damn hard! 💣

OXIA CHAOS CRUEL NATURE RECORDS

UNKNOWN MEMORY UNKNOWN MEMORIES

VOL. 35: NM_O errata C20 series

Masche is an Italian free jazz, free rock group who shapes compositions out of texture and will power. Their progression is honest; it feels like what you’d think freeness would sound like. There’s Last Exit vibes, but not quite, more direction-based, more stillness against the mania. It sounds weird to say, but Masche’s freeform is construction-based; they want you to head towards a place. The direction works, and their recording Oxia Chaos is totally spatial, with bass and saxophone smack-dab against drums and electronics. The two sides are in constant battle, but it’s friendly, like leaves in space, anxious, but comfortable, willing to dream. The songs are long, psychedelic-driven, almost furious, but always crafted. “There Will Come Soft Rain” clocks in at over 20 minutes and has this ethereal moisture attached to it, a unison of all four players, like a play, or a practice of a play (simulation), where you can be loose and focus on the edges. 💣

DJ1986’s Unknown Memories is distant in your mind, ahead of your mind music. That is, it’s revelatory. Like something you’ve always known, and that space becomes lush and almost like you’re going to blackout, but in a decent, calm, and healthy way. It’s a tape that fits the periphery, something that monitors the right balance and tone; it’s earthen and completely fabricated in the most natural way. There’s manipulation: you can feel the hand of humanness, but it’s abstract, soft techno that is one’s beating heart. It’s also the city, the place of no space, of mind hovering above the gas and smoke, barely breathing, touching the sun that melts our being, that keeps us alive. Yes, it’s soft darkness, club music where there is no club, a crest of a garbage wave from the tunnels and echoes of empty industrialization.

A dream, an unknown memory, yes, DJ1986 got it, the ungraspable reality that is reality. This is great tape. 💣

Naiima Mare is from France, and offers an experimental take on minimal techno and noise; though at times abrasive, it’s never overwhelming, and the songs, relatively short and very satisfying, gain strength with each possible avenue. This is a composer that is hyper-aware of their surroundings, each path, each trek, in each different composition (there are six), is multifunctional, is pure, whole, it’s sound that is nonsound, and very much full-sound.

It works on many levels; it has one foot in the door of the contemporary and one foot that is independent of everything all together, and that is where Naiima Mare transcends. This is new Dada, future Dada, very aware of its past, structures built on questions, all-together joyful, industrial reality, industrial society, playing the part, working with minimalism, finding its fullness, wanting to reach for its fullness. It’s exciting and you want to listen, and you can relax too, and drift. 💣

EP DRY COUGH RECORDS

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NAIIMA MARE