New Noise Magazine Issue #51

NEW NOISE MAGAZINE | ISSUE 41

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G r a c e f u l l y t r o l l i n g t h e m u s i c “i n d u s t r y” s i n c e Y 2 K .

Out Now

Narrow minded x Throneburner

Wasted Breath

“Split” EP - 7”/Digital

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“Behold The Key” - LP/CD/CS/Digital

Sterileprayer

“Accepting The...” - LP/CD/CS/Digital

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ISSUE 51

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PHOTOGRAPHY OF EDWARD C. COLVER THE NEW WHAT NEXT MAMALEEK HABIBI THE FRIGHTS BLACKWATER HOLYLIGHT INSECT ARK HEY, CHELS THICK WORRIERS THE CHATS PEARS DARK THOUGHTS THE BLACK LIPS THE BOMBPOPS ENVY 20 YEARS OF DEATHWISH

44

FOUR YEAR STRONG

48 50 52 54 56 58 60 62 64 66 67 70 72

SILVERSTEIN BODY COUNT MIDNIGHT MYRKUR MY DYING BRIDE IGORRR BRIAN POESEHN KVELERTAK HUMAN IMPACT FOTOCRIME DEREK SANDERS THE SHORTLIST ANALOG CAVE FOUR YEAR STRONG COVER PHOTO BY GUADALUPE BUSTOS TABLE OF CONTENTS PHOTO BY GREG JACOBS BAND - SCHITZOPHONICS

4 NEW NOISE

PHOTOGRAPY BY EDWARD COLVER - CIRCLEJERKS - 1980

GROUP SEX

DOCUMENTING THE EPICENTER

EDWARD C. COLVER

BY MATTHEW HUTCHISON

force in Southern California underground music. The record and its imagery are as relevant today as ever, a landmark release in punk rock.

The photo on the album cover is the work of Edward Colver, an important name associated with the hardcore punk explosion in Southern California. He was at the epicenter of the nascent scene, documenting it for everyone who wasn’t, or who missed it completely.

Y

ou’ve seen this picture before. Or maybe it’s your first time. A black and white photograph of some 30 punks standing in an empty pool with various expressions on their faces: agitation, excitement, and even detachment. Add neon coloring for graphic purposes, and the cover

shot for the Circle Jerks’ Group Sex LP reveals itself. This marks 40 years since Group Sex was released, 14 minutes of blistering hardcore punk that made the Circle Jerks one of the fiercest bands of the movement. The album also established Lisa Fancher’s Frontier Records as a seminal

End of the Funnel, showcasing hundreds of his shots. If you snagged a copy in its first run, good for you—the first edition now fetches four figures. He is currently planning a second book of unpublished work for a future release.

Colver’s acquaintance with the Circle Jerks dates back to the beginning, when he would photograph the Jerks’ gigs at various Los Angeles-area clubs. After showing the band his prints from a set they played at the Whisky A Go Go, they asked him to shoot the cover for Group Sex. The album cover was shot at the Marina Del Rey Skate Park on a summer evening at a Circle Jerks, Adolescents, Venus & Unit 3, The Stingers, and Dead Hippie show in 1980. Perched on a medium-sized ladder set in an empty skate pool, with a bird’s eye view of punk rockers moving into his frame, Colver snapped with his camera, and the rest is history. He reflects on that photo 40 years later.

Five nights a week between 1978 and 1984, Colver trekked to clubs, auditoriums, and halls from his San Gabriel Valley home, across the counties of Riverside, Los Angeles, and Orange, with a Canon AE-1 35 mm and an arsenal of Kodak film. Colver built a portfolio of some of the most iconic and visceral images of the American underground. His tall, wiry frame became recognizable by people who went to gigs regularly, and his knowledge of venue layouts, mixed with his studies of applied art, gave his visu- “Looking back, I thought it was a pretty als the striking feeling that you were shitty picture [laughs]. It was shot on alongside him, witnessing everything. color film that was slightly blurred, and the one that got chosen was Group Sex was Colver’s first LP cover. slightly blurry itself, but it worked.

He went on to shoot over 500 more, It was always an embarrassment including the iconic cover for Black it wasn’t in crisp focus; that’s what Flag’s Damaged LP, and the murder bothered me about it, but it came out scene pictured on China White’s de- and worked okay.� but Danger Zone EP. His name is affiliated with some of the biggest names Colver reveals there’s a final twist to in the genre—but Colver is quick to this story. point out that there was far more going on at that time than just a handful “Get this,� he says. “I almost got my of bands. legs chopped off below the knees after taking that photo. I went back “I feel people only affiliate me with to my car to load some more film, shooting Black Flag, Dead Kenned- and I’m standing between the open ys, and TSOL-level groups because door when I hear someone scream, that’s what they see from me,� he “Look out!� and look up to see this van, says. “The truth is, I shot every band some drunk idiot named Reno was that was around and paid attention behind the wheel and was backing to everyone on that scene, no matter the van straight towards me. That was the crowd size drawn. Some of the so scary.� small bands were just amazing too, and they never cut a record. That’s “Hey, I went back to shooting though, a shame.� and got some great pictures of the bands that night.�

In 2015, Colver released his first photography book of the era, Blight at the Like a pro always does. đ&#x;’Ł đ&#x;’Ł đ&#x;’Ł

NEW NOISE 5

BERZERKER LEGION

Hometown: “The Battlefields of Europe�

Album: Obliterate the Weak out now via Listenable Records RIYL: Battle Metaphors. The Platonic Ideal. Nostalgia.

EXMAID

Hometown: New Jersey Album: Sorcery out Feb. 20, via Bangs and Burns RIYL: Contrast. Empathy. Release.

Where Berzerker Legion immediately excel are in making the old feel fun and fresh again. This “Generally, I like the idea of noisy heaviness contrasting my somewhat-on-the-lighter-side vocals. is the true, ideal sweet spot between classic, Swedish death metal and very early, melodic death That has been a goal since Exmaid started.â€? That spot-on assessment comes from Exmaid vocalist/ metal. It’s sweeping, grandiose, and feels like the music the Allies would have played before guitarist Miranda Taylor, and Sorcery highlights how damn well the group know how to keep this storming Normandy to defeat the Nazis. Just when you think it’s all knuckle-dragging, extreme formula consistently engaging. It’s a record marked by that key contrast, but it’s brought together metal, a wonderful melody comes out to play—metalheads won’t mistake this with late-ca- in a way that focuses on wonderful songwriting and haunting lyrical themes more than trying to reer In Flames or even Dark Tranquillity. This Legion is perfect if your ideal Valentine’s Day cash in on a unique idea. In that way, Sorcery works as a great, grungy noise rock record, with just a date was in Sweden around 1991. That feeling is intentional, as Berzerker Legion were cre- dash of added heart and soul. This extra flair comes from Taylor’s pained and personal lyrics ated with the goal of metal veterans delivering their idea of how metal sounds in their head. that make it feel like she rips open her ribcage to reveal what’s inside—it’s that brutally sincere. “To bring something new in the scene these days is not even possible anymore after four decades “It really helps to know that someone is listening when you talk, and I felt that during the process of metal, as everything has been done already,â€? says guitarist Alwin Zuur. “The best you can do of writing this record,â€? Taylor says. “I wrote exactly what I felt and hoped that someone would is release a great album with great music. We just wanted to create music with that perfect hear it. The things I was experiencing were overwhelming—and I am a pretty shy person—so it felt like the only way to say what I wanted to say was by writing these songs. I know for certain balance between those harmonies and melodies and brutal, old-school death metal.â€? đ&#x;’Ł that so many people feel this, at some point at least, and I guess it is a testament to the virtue of being honest by whatever means necessary.â€? đ&#x;’Ł

FOOL'S GHOST

Hometown: Louisville, Kentucky Album: Dark Woven Light, out March 20 via Prosthetic Records RIYL: Loss. Companionship. The Healing Power of Art. I’ve never been left so uniquely captivated as I have with the stunning musical suspense that Fool’s Ghost create. It’s sparse and haunting, yet there’s a heaviness that weighs on the soul while taking in Dark Woven Light. It’s clear that the duo bared every ounce of their being in creating this release. Musically, it’s difficult to compare Fool’s Ghost to other styles or groups—echoes of post-rock, doom, Americana, and soul exist, but barely scratch the surface here. It’s an experience that’s best left without expectations. The pained-yet-hopeful record is both honest and uplifting. The band reflect on how their bond created such a stirring masterpiece (my words, not theirs).

TWINS

Hometown: Throughout Germany Album: Soon, out now via No Funeral Records RIYL: Freedom. Feedback without Feedback. New Friends.

Imagine Soon were a first-person shooter—stay with me for a second. This German act wield two distinct-yet-powerful weapons in their hands. On the left is emotional melodic post-hardcore of the variety that Epitaph Records (and really everyone) loves. On the right is a more pensive (but not wimpy) math rock of the TTNG style. Rather than firing at different intervals, Twins deploy both sides of their sonic arsenal at will and organically. It’s beautifully done and immensely captivating. This approach was the result of a new band having total creative freedom from the onset, as they collectively share.

“[We came together through] shared personal loss and working through different stages of grief “There was one thing in particular that we all enjoyed and that we often talked about, and that was the together,â€? says singer and keyboardist Amber Thieneman. “There's so much that words don’t get prospect of writing a record completely uninfluenced by opinions, bystanders, and critics. We had no deadline, no one who had given us any kind of feedback, except a few friends that listened to some close to expressing, and that's where art and music come in, to help process and heal.â€? rough snippets. Therefore, we were never afraid to do any experiment that came to our mind, no matter [how it] sounded.â€? đ&#x;’Ł This is heavy music that reinvents and expands what heavy can be. đ&#x;’Ł

6 NEW NOISE

PHOTO BY JOEY TOBIN

THE DEADNOTES

Hometown: Freiburg im Breisgau, Germany Album: Courage, out now via 22 Lives Records RIYL: The Cowardly Lion. The Brave Little Toaster. Redemption.

THE GONERS

Hometown: Eskilstuna, Sweden Album: Good Mourning, out March 13th via RidingEasy Records RIYL: Cowboys. Sobriety. Old Records.

Sometimes the best part of music discovery is finding something new without any preconceived Not to make light of rock bottom, but sometimes you have to fall in order to pick yourself up again notions or hesitations. Although they’ve been around for nearly 10 years, this German, indie and start over. The Goners’ vocalist and guitarist Nate Gone (ex-Salem’s Pot) reflects on how this new punk act clearly have made one hell of a great impression. With a sound that takes the earnest project is a much-needed mulligan for him. nature and stadium-ready hooks of recent Deaf Havana while keeping one foot firmly in the anthemic punk world, it’s bombastic, heart-wrenching, and as immediately arresting as music “I have been nothing but gone for the last decade,� he says. “Eventually, it left me without the band I can get. Maybe it’s the fact that The Deadnotes clearly give a shit and want to inspire others to was playing in and some of my best friends. Even more would follow. I didn’t even understand why make the world a better place, but it’s impossible not to root for a band this excellent, powerful, at the time, so I went on a blackout for another year or so, until I burned one too many bridges and and easily able to put a smile on my face. On top of all of this, Courage is somewhat of a concept realized I had to face the demons and sober the fuck up.� record, as the band discuss.

Now, it’s also very important to note two things here. One, that absolutely sucks what Gone went “I‘m not a huge fan of concept albums, but somehow it turned out that we wrote an entire album through, and I’m very glad that friends and music helped him get back to being a force for good. about the courage of overcoming fears—whether they‘re political, social, or personal [in] na- Second, if a country-western version of throwback heavy metal sounds remotely interesting, then ture—and about making changes for the better, whether they will affect yourself, the society, or Good Mourning just might be the best thing you’ll hear in 2020. Thank God for second chances and the whole system we live in.â€? đ&#x;’Ł great records.đ&#x;’Ł

O ZORN!

TERMINATION DUST

HOMETOWN: Anchorage, Alaska ALBUM: Growing Down out now via Self-Release RIYL: Comforting Discomfort. Embracing the Imperfect. Harmony.

HOMETOWN: Uruguay/Sweden/Spain ALBUM: Kuarahy, out March 13 via Nuclear Blast RIYL: Heritage. Delivered Promises. Watershed Moments.

O Zorn! are what happens when people who know how to make a proper racket on their own come together and make the best possible racket. Your Killer is interesting in how it skirts around different vibes and subgenres, but it can really only realistically be called loud noise rock. It’s sludgy, grungy, and punchy, but stop arguing over genre and get on this wonderful noise.

Termination Dust exist in a universe where Taking Back Sunday were a bright, indie rock band instead of a heavy punk band, oh, and with dual female vocalists instead of high-pitched, male voices. Humorously, some of Jaybird’s and Steffi’s vocals on this album might actually be lower register than TBS, but whatever.

That weird comparison actually gets to the core of who Termination Dust want to be and why they’re so endearing and exciting.

Growing Down is such a distinctly human record, drenched in the highs and lows of existence and empathy. It’s also remarkably catchy and instantly memorable. That duality is part and parcel of the band’s identity, as they note.

Not that they needed defending, but White Stones are one hell of a response to the notion that bassists in metal are unnecessary. This is the solo project from Opeth bassist Martin Mendez, and it’s both a love letter to his personal and artistic past and one of the most primal, visceral, and glorious death metal releases in recent memory.

Born of an era before guitarists discovered the famed HM-2 pedal, Mendez masters a slithery, progressive take on the style that fans of Horrendous and early Opeth will appreciate. This is the absolute pinnacle of retro death metal.

HOMETOWN: Long Beach, California, California ALBUM: Your Killer, out March 20 via Seeing Red Records RIYL: Sweet Noise. Loud Noises. Finding Beauty in Chaos.

The chaos is reflected in the tone of the album, as vocalist and guitarist Bill Kielty states. “[It’s] a product of the three of us, all being super mixed up in our personal lives. A lot of inner confusion and disappointment—super sad, super pissed off, and then mix in a little tragedy. I feel we definitely captured some of that energy. Thematically, I tend to feed off sadness and negativity. It's where that [creative] part of me lives. The stories and meaning behind each song reflect that as well. Every storyline has a certain perseverance throughout, and just as the music does, crescendos, and then ends with some sense of acceptance or relief.â€? đ&#x;’Ł

WHITE STONES

“We wanted to capture the imperfectness of the human con- All this talk of the old gets to the elemental reason that dition, the different layers experienced during the healing White Stones even exists in the first place. process, and focus on personal growth through intense self-reflection. We also really wanted to make some bops!â€? “Well, I guess it’s all nostalgia,â€? Mendez says. “I left Uruguay when I was 17 years old, but still have a strong “We have a tendency to write songs that are a little confusing connection with that place and the history. White Stones to the palate,â€? they continue. “There is absolutely angst in (Piedras Blancas) is the place I grew up in Montevideo. the feeling behind this record, but more importantly, we To make the connection stronger, I took the sun from wanted express forgiveness to others, but foremost, to the Uruguayan flag to create the logo of the band. It is ourselves. That’s why we named this record Growing Down. a nostalgic record, but it’s not a theme that defines the Life is fucking hard, and everything doesn’t always seem project. The next record might not have anything to do upright, but with a little bit of work, it’s beautiful.â€? đ&#x;’Ł with that place. It just happened on this one.â€? đ&#x;’Ł

NEW NOISE 7

PHOTO BY JOEY TOBIN

GLASS BEACH

Hometown: Los Angeles, California Album: The First Glass Beach Album, out now via Run For Cover Records RIYL: Math. Emotion. Moving Cross-Country.

For those of us who have moved around in our lives, there’s always a stress in the unknown—whether it’s a new school, new job, or just trying to make new friends, we never really know how it will turn out. Imagine moving all the way across the country just to start a band—that’s what Glass Beach did.

Members came from Texas and Minnesota to the sandy shores of L.A., and that confluence of people and place exists in the sonic experience that is The First Glass Beach Album. Imagine if early ’00s emo/punk were filtered through the lenses of experimental synth, math rock, showtunes, and even autotuned R&B. There’s really nothing like Glass Beach anywhere, and it’s clear the resulting debut was worth the road trip.

PHOTO BY FRANK RALPH

GODTHRYMM

Hometown: The U.K. Album: Reflections, out now via Profound Lore Records RIYL: Valentine’s Day. Love. Frustration.

Comprised of some true titans of doom metal (members of My Dying Bride and Anathema), Godthrymm is what doom lovers’ hearts have been longing for. Renowned vocalist/guitarist Hamish Glencross knows his way around music that tears through your heartstrings, and despite his truly monumental pedigree, Reflections might go down as his most impactful and powerful record to date. Some of that has to do with the benefit of time and experience: we’re all better at what we want to do now than when we first started out. However, there’s more at play here, as Godthrymm express a greater range of sonic and lyrical emotion throughout this nearly hour-long series of lamentations. There’s an appreciation for the highs and lows here, a recognition that our sorrows hold meaning because of our exaltations. Reflections spends time on the gamut of the human soul and is so much better because of it.

Drummer William White reflects on the band’s ethos: “Simple answer—whatever we wanted. Early on [vocalist/guitarist/ keyboardist] J preached an attitude of limitless creativity. We make every choice and experiment with every influence we “I remember being in awe when I first discovered that mucan, regardless of if we can make it work. It’s like, ‘Write as sic could be both incredibly heavy and ugly, yet haunting much as you possibly can, then edit.’ If we dumped everything and beautiful at the same time,â€? Glencross recalls. I out and something didn’t work, we just wouldn’t use it. Like, found that amazing dichotomy perfectly in doom metal every idea is precious until it’s not. And we agree as a band, and so wanted to be a part of that. We wanted to explore fully, if that’s the case.â€? đ&#x;’Ł every aspect of what makes us unique as humans—the highs and the lows, the love and the loss, the anger and the peace.â€? đ&#x;’Ł

PHOTO BY KATE HOOS

CHOKED UP

Hometown: Brooklyn, NY Album: Dichoso Corazon out now, self-released RIYL: New Spins on Old Tales. Pulling Heartstrings. Pop Punk.

“A pop punk telenovela in English y EspaĂąol.â€? That’s how Choked Up succinctly sum up this record, but that doesn’t really get at the heart of why Dichoso Corazon is so passionate and powerful. It translates to “fucking heart,â€? and vocalist Christy C. Road notes the frustration that fueled this beating heart. “I wrote many of these songs when I was absolutely sick of my heart: trauma, healing, cutting ties with toxic people who I loved, and losing my grandmother who raised me,â€? she says. “Dichoso was a prefix [my grandma] always used about annoying shit—dirty clothes, the government,â€? Road continues. “These songs came from that!â€?

It’s unsurprising, then, that the record grabs the listener through these tales of “annoying shit.� However, that’s not the first or second thing I noticed about Dichoso Corazon. No, it’s how immediate and arresting Choked Up’s version of gritty pop punk is. Road’s voice grabbed me from the start, and I was in the band’s world from the first note. This telenovela isn’t afraid to say something, either, as there’s a clear through line about reclaiming your heart in the midst of fascism and a world of hate. Choked Up’s aim is to tell their tales while still giving a shit—this is impassioned punk for those who want to help out their fellow humans while telling Nazi punks to fuck off.

Dichoso Corazon is a lovely little musical adventure that lives up to its happy name. Despite dealing with the harsh realities of the world around you, it's a triumphant listen. đ&#x;’Ł PHOTO BY COLLEEN ROSE

IZTHMI

Hometown: Seattle, Washington Album: The Arrows of Our Ways, out now via Within The Mind Records RIYL: Old Favorites. New Loves. R-E-S-P-E-C-T. There’s something elemental and spiritual at the heart of what makes Izthmi tick. Musically, there exists an appreciation for some of the best ideas in extreme metal over the past decade. Echoes of early Opeth-ian progressive death metal; Wolves In The Throne Room’s haunting Cascadian black metal; and Insomnium’s elegiac melodeath are just a part of Izthmi’s musical arsenal. Indeed, it’s less about the sounds of now-classic extreme metal on The Arrows of Our Ways than it is about the way those styles made those of us who loved them feel. That sentiment of what we love is why Izthmi speak more to the soul than you might initially expect, as they collectively discuss their aspirations and aims:

GRUMPSTER

Hometown: Oakland, California Album: Underwhelmed out now via Asian Man Records RIYL: Bent Not Broken. Oscar The Grouch. Grunge.

Grumpster is a bit of a misleading name, not because the band write buoyant, bright bops, but because the feeling that this grunge/punk group evoke is happy, despite the themes of the record. Maybe it’s because of the slightly nostalgic feel of the band’s sound—think very early pop punk before it became glossy. Maybe it’s because there’s a sense of catharsis and honesty that highlights the healing power of getting shit off your chest. Whatever it is, Underwhelmed will leave any listener impressed and hopeful that we’ll hear more from the band soon.

SHADOW SHOW

Hometown: Detroit, Michigan Album: Silhouettes, out now via Burger Records RIYL: Motown. The Film Pleasantville. Smart Escapism.

Very little about Silhouettes feels connected to any sort of Lynchian, dark undercurrent. However, beneath a brilliant, ’60s, psychedelic, garage homage with some local (read: Motown) flair, there is something hiding in the shadows. On the surface, it’s impossible to deny the sheer toe-tappin’ genius on display throughout—this trio exhibit a real mastery of harmony, haze, and atmosphere. That only makes the underlying thematic depth that much more rewarding.

“Considering the absolute absurdity of the times we live in, we wanted to create a world where you can claim your dreams, “We wanted to reflect the honesty of the human experience your inner visions, as reality,â€? they collectively mention. “In within today’s social climate and atmosphere. As we conmany ways, the lyrical imagery of our record is a method of tinue to disrupt the natural balance of things, we only see “Though these songs are about my personal struggles, the escapism, but words don’t always mean exactly what they that we suffer more and inflict more suffering on others. lyrics leave room enough for those listening to take say. At the center of the mystique and madness, there’s an what they will from it and apply it to their own lives or internal dialogue questioning identity, communication, and “Our only salvation from ourselves and all negative external whatever they may have going on. I wanted to do for the meaning of life. One could say, at the heart of it all, this is forces is unconditional love for the world we live in and other people what some of my favorite records did for the diary of a madcap on full display, fueled by her feminine everything within it. LOVE IS THE TRUTH.â€? đ&#x;’Ł me, something they can listen and relate to.â€? đ&#x;’Ł gaze and existential crises. It’s all relative.â€? đ&#x;’Ł

8 NEW NOISE

A sense of perseverance oozes through the speakers, and that was clearly intentional, says vocalist Falyn Walsh.

NEW E.P. OUT MARCH 13, 2020

MAMA

DIRTY DUOS

INTERVIEW BY CHRISTOPHER J. HARRINGTON

T

he free-swinging, anonymous sibling duo, Mamaleek, paint their canvas with hues of violent outbursts. A periphery of neo-jazz subdues the listener, while the total vision drips quick and free. The band’s newest work, Come & See, drops March 27, 2020, via The Flenser. It’s another step in another direction for the group, the distance traveled relative to the wide expanse of their eternal monologue. Mamaleek is different because they echo a looseness that feels dangerous, their consumption of frequency, a sort of time travel to a lost planet known as the inner-creative, human experience.

“There once was a notorious video store on Kearny Street in San Francisco,� the band relays. “Pre-tech colonization, called North Beach Video. Its name sounds innocuous enough, but the store featured home-recorded VHS videos of people shitting and pissing on other people, with Polaroids of the act crowning the cover sleeves. I remember a strong resistance and bewilderment overcoming me while ‘browsing,’ the type of aisle-traipsing you can’t find anywhere else. A part of me mourns the loss of this San Francisco, replaced now with its high-cost monoculture.�

Come & See sparkles in the way old, free jazz does: hard and painful, darting and uncompromising. Its purpose is circular,

reinventing itself because it has to. It flows in a negative and positive way, and, therefore, is free to choose its direction, which it does in a multitude of ways. There is a country, a continent this album lands on, yet it is homeless, possession-less. Its intent is to persuade misdirection, confusion, all for the sake of freedom, or feeling of place. “You can look to the example of Ornette Coleman, Archie Shepp, Albert Ayler, Cecil Taylor, and other free jazz pioneers who were initially treated with insidious disrespect for producing music that wasn’t serviceable to the drinking and dancing club clientele,� the group says. “That’s why many of these musicians ditched America for Europe.�

Everyone recorded live to tape, including vocals. We did about two takes of each song and had a first mix the next day. There were no punch-ins and only one or two overdubs.

But, I do think it’s wrong to characterize this recording as a strictly ‘live’ recording. It is still a studio recording, with very specific recording choices and mixing techniques between Jack [Shirley, engineer] and us.

And it was all over before we knew it, just like life itself.�

The pain of memory. Rawness has always clung close to the heart of Mamaleek, a primordial originality bouncing around the parallel universe. Where some bands treat compositions as opportunities, Mamaleek treat them as life itself: deranged, perpetual, and horror-stricken. That is why there is nothing like this band. Indifference reigns

because indifference is at the heart of survival, nothing can capture the moment if it is true. It's a once in a lifetime sort of thing. “The noises produced by animals create mental images or impressions that trigger a response,� the band explains. “Whether to attract mates or warn predators. Other animals are able to interpret these noises to mean something that might affect them.

The church bell or call-to-prayer signals that it’s time to head to a sanctified space to perform prayer, and yet the associated images of the deity that they might conjure are considered idols. Music is a kind of idolatry. It seems to hold that whatever integrity or core presumed of a sound withdraws as soon as you approach it. A mental image of music is just a snapshot of you trying to sneak up on it, but it ain’t it.â€? đ&#x;’Ł

Count Come & See as part of the pilgrimage. Its heart is a Western-turned spiritual reckoning, its compartments shuffled and spun, a sort of repetitious chant. The album was captured live on tape, and has the feel of spontaneity that many of the great, early psychedelic records do. Timelessness is its genesis, an odd placement and dangerous vibe surrounds it. It’s crafted wisely, but freely. “There was a lot of preparation and rehearsal leading up to the recording,� Mamaleek note. “But the recording process was entirely different than [on] previous albums.

INTERVIEW WITH FOUNDING MEMBER BRUNO DORELLA BY MARIKA ZORZI

C

elebrating their 20th anniversary in 2020, OvO is a singular force in the underground. They have released a thrilling new piece of work in their anniversary year, a ninth full-length, Miasma, out now on Artoffact records.

Using a mix of electronic and acoustic instruments, founding members Stefania Pedretti and Bruno Dorella have faced many challenges throughout the years. “We really never even considered quitting, even during the hardest moments,�

Dorella says. “We’ve always been curious and creative, we never got bored.

And I think we’re still getting better and

better as a band.� “We started as an open improv collective back in 2000, and now we’re a heavy duo,� he continues. “We found a whole new inspiration when we added electronic elements to our tribalistic approach in 2013. And we began as a couple in life, and we’re not anymore.

It has all made us stronger and more focused.�

Miasma sees OvO continue down their path, mixing tribalism and futurism by way of radical cross-contaminations of sounds, rhythms, and genres. “Before we started to work on it, we were sure it was going to be radically different: even a fully electronic album, maybe,� Dorella admits. “But then our punk/ hardcore roots took over, and there was no way to stop them. As usual, the composition took its own way, no matter what we meant to do, and we just followed it.�

The title Miasma was chosen to represent every massive center of power in society, such as corporations, religion, or the right wing. It was chosen as something dark and terrifying that tries to take control over people.

PHOTO BY ERICA SCHNEIDER

10 NEW NOISE

“While we were working on the tracks, we realized that we were achieving the dirtiest sound, yet the clearest vision, in our

career,� Dorella says. “But Giulio Favero [engineer] had the hardest task when he had to mix it. He was able to keep both things: dirty sound and clear vision.

Then we really had this crazy, morbid, apocalyptic sound that you can almost smell and touch. It’s poisonous, sick. But glorious, somehow.�

The political situation of their home country of Italy also inspired the new album, Dorella says. “There’s a serious fascist thing going on.

People are tired and angry, and they go for the bad guy, because it’s easier, it’s something everybody can understand.

There’s so much ignorance, hate, populism. Representing evil, and at the same time fighting this distorted society in our everyday life, are things that definitely go into our music.â€? “We do believe that music can make a lot for a positive change,â€? he continues. “Our first contact with rebellion and political statements was through punk music, and history says that music has always been a powerful way to communicate to large amounts of people and, consequentially, to influence some political decisions. These times aren’t very strong in terms of a united scene. But it has to come back, we’re sure it’ll be one of the ways to fight for this positive change.â€? đ&#x;’Ł

UNIQUE PERSPECTIVES, UNIVERSAL JAMS

INTERVIEW WITH LEAD VOCALIST, VIBRAPHONIST, AND SONGWRITERÂ RAHILL JAMALIFARD BY J POET

Jamalifard grew up singing along to her dad’s collection of bootleg tapes of Iranian music. Those sounds get subtly mixed into the arrangements on the record, finally coming into full bloom on the album’s last track, “Come My Habibi.� Guest singer Mina Al Chokeil adds traditional vocal improvisations to the lines Jamalifard sings in Farsi, while tombak player Yahya Alkhansa adds her percussion expertise to the jam that closes the song. It’s a seamless amalgamation of American and Iranian influences. Is this something the band will be pursuing in the future?

H

abibi write bright, uplifting love songs. divide in this country. As the rich stay in “I just finished a new song, partially sung in their bubble of comfort, we struggle to Even when they’re dealing with the Farsi,� Jamalifard said. “It’s always going to afford healthcare, pay our rent, and to do darker aspects of relationships, the music is lively, full of chiming guitar hooks, the things we need to do in order to keep sweet harmonies and punchy rhythms. peace of mind. Anywhere But Here is an The Brooklyn-based band’s new album, echo of that sentiment.�

Anywhere But Here, released by Mudguts Records on Feb. 14, 2020, features 11 mem- Habibi’s songwriting duo - Jamalifard and guitarist and singer Lenny Lynch - were orable tunes. These include “Bad News,� a raised in Detroit. The sounds of that city, break up song with a twang-heavy surf Motown, girl group harmonies, jazz, rock, beat, “Dragging Me Down,� an ominous ballad drenched in brooding harmonies, and Middle Eastern music permeated their minds, even before they had the idea of and “Hate Everyone But You,� a song that starting a band. uses a Bo Diddley beat to dream about escaping the realities of life in Trump’s America. Those feelings are implicit in the “Habibi is named after a familiar term of endearment Lenny and I grew up hearing,� album’s title.

Jamalifard said. “Lenny spent a lot of time with her Arab neighbors and friends. They “I would say the past couple years - since taught her about their culture, food, and the beginning of this presidency - have language. I grew up just outside of Detroit been pretty bleak and dark, with racism and spent a lot of time in the Muslim comand xenophobia reaching new levels,� said Rahill Jamalifard, Habibi’s singer, lyricist, munity, so we have a special appreciation for that term.� and vibraphone player. “There’s a huge

PERSONALITY

be an element, as it’s a part of me. There’s no planned out agenda about including or excluding anything. It comes when it comes. I believe people really like it, and are intrigued by it. Often, people tell me I should incorporate it more into our music, but as I said, it comes when it comes. Ideas come from everywhere. I'm inspired by my family or friends, the street, my thoughts, books, film, anything. When I hear a random line that I like, or a phrase I think sounds poetic, I write it down to work on later. It’s not my style to pursue something affectedly. It’s way more instinctual for me, not calculated.�

Stay tuned. đ&#x;’Ł

PHOTO BY BAILEY ROBB

INTERVIEW WITH VOCALIST AND GUITARIST BEN CARR BY JANELLE JONES

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orth Carolina’s Personality Cult are back with their sophomore full-length, the frenetic, nine-track tour-de-force New Arrows, released mid-February 2020 on Dirtnap Records.

“The band, which incorporate a lively, power-pop-infused brand of punk rock with highly thought-provoking, introspective lyrics, is the brainchild of Ben Carr, who has played

with Last Year’s Men and Natural Causes.

They started after Carr, who had written “a handful of songs, and I had a couple others buried deep in my demos folder in my computer,� says vocalist and guitarist Ben Carr.

He then talked with drummer Ian Rose who encouraged him to “just do it.�

So, Carr says, Rose played drums, “And then everything else I just did in my bedroom.� He

sent the finished product to well-regarded label Drunken Sailor, and they released Personality Cult’s self-titled, debut album in 2018. After that success, Carr says, “I was just like, ‘I guess I gotta form a band now.’�

He got together with friends Colin Sneed, Johnny Valiant, and newer acquaintance guitarist Stephen Svacina.

“I wanted to have somebody else to share this with,� he says. “There’s only so much talking to yourself that you can do. It was nice to share that experience a little bit.�

Carr still writes all the songs himself. “I’ll program out electronic drums and then write the guitar part, the bass part, the lead part, the vocals,� he says. “And then I’ll send those songs out to the band, and obviously they’ll put their tweaks on it. They’re a vital part of Personality Cult for sure. The pace we go at is how quickly I can pump out the demos.�

And those sparks of ideas for songs and writing can, naturally, vary. “I feel like it comes in spurts where I'll not write anything for two months, and then be like, ‘Well, great; I can’t write songs anymore; it’s just not possible. I'm tapped out,’�

12 NEW NOISE

says Carr. “And then something will click, and I'll write three or four in a row and then just spend the next couple of weeks after that demoing, demoing, demoing, and then eventually, you get to a point where you have 12 songs. Let’s go make a record.�

About putting this album out on Dirtnap, Carr explains enthusiastically, “I’m 28, and they’ve been around for 20 years, so all my formative years of listening to punk, I’ve been buying Dirtnap records.� “Ken [Cheppaikode, label owner] is really cool and pleasant to work with,� he adds. “There’s no pretension on anybody’s side.

I’m really happy to be a part of it.�

And part of being on the Dirtnap roster means Personality Cult will be playing the label’s 20th anniversary party in June in Madison, Wisconsin. As for playing other dates and going on tour in support of the record, that’s still up in the air at this point. “We’ve got a couple things in the works, but they’re really in the baby stages right now,�

Carr explains. “I’m in school full time, double majoring. And my partner has a kid, so I’m running around all the time.�

Stay tuned. đ&#x;’Ł

PHOTOGRAPHY BY ALAN SNODGRASS

FOLK FOR THE FUTURE

INTERVIEW WITH SINGER, SONGWRITER, AND GUITARIST MIKEY CARNEVALE BY J. POET

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he Frights never intended to be bums. The band moved over to Ep- they came pretty seamlessly. I didn’t everything else. The production Richa full-time touring band. The itaph Records for their third album, expect anyone would ever hear them, ard contributed is very insane, almost trio - guitarist and songwriter Hypochondriac. That record saw so they became a bit more personal.� an instrument in itself. It’s full of tiny, Mikey Carnevale, bassist Rich- a shift in their style, moving away weird sounds.� ard Dotson, and drummer Mark from the surf/punk sound, towards The album, out now on Epitaph, was Finn - knew each other from groups a more contemplative approach. recorded in a cabin in Idyllwild, Everything Seems Like Yesterday they played in during high school in California. Because of scheduling sounds like a classic folk album, San Diego. “I was in a folk punk band in high conflicts, the other band members with acoustic guitar, harmonica, school,� Carnevale says. “I started couldn’t participate, so Carnevale mixed down bass, and subtle per“I was a drummer in a band when I writing more personal songs. The and Dotson recorded the album as cussion touches. There are waltzes, was 14,� Carnevale says. “I got the songs on Hypochondriac came out a duo. ballads, swing, and a rich blend of fire in me and wanted to be up so well, I thought about making a backing harmonies. front, so I started playing guitar folky solo album.� “We used Richard’s laptop, a bunch and writing songs. I put together a of speakers, some mics we bor- “When we played it for Mark, I band that wasn’t that great, but we “I started writing the songs on Every- rowed from a studio in L.A., all my thought he hated it, but he said this played gigs with the bands Richard thing Seems Like Yesterday without acoustic guitars, one bass, an elec- should be our new direction, so we and Mark were in. We had a super any expectations for how they were tric guitar, a couple of amps and decided to release it as a Frights friendly rivalry going, and got to- going to sound,� he continues. “I some random percussion stuff,� album,� says Carnevale. “I know gether after we were all in college didn’t see them as Frights songs, Carnevale says. people are gonna freak out about for a one-off gig.� but they ended up going that way. it, but they always do, so who cares?

When Richard and I got together “This is the first time that I wrote all the We’ve never played these songs After playing that gig, the security to record them, we were so happy parts of the arrangements,â€? he con- together, so we have no fucking guard who was standing outside with the way it turned out, we de- tinues. “Before this, I’d bring songs to idea about what’s going to hapoffered them a deal with his indie cided to make it a Frights album. I the band, and we’d all work them out pen. We’ll just do whatever we want, label. They signed up, put out a focused a lot more on lyrics, and it together. This time, Richard played and see who sticks around and who couple of EPs and began making al- took a lot out of me emotionally, but electric guitar and bass, and I played doesn’t.â€?  đ&#x;’Ł đ&#x;’Ł đ&#x;’Ł

NEW NOISE 13

THE BLACKEST ELEMENTS OF EARTH AND SPACE

INTERVIEW WITH SINGER / BASSIST JARED BRIDGEMAN

BY ADDISON HERRON-WHEELER arth Rot have been holding it down steadily in the realms of death and black metal in Australia, realms that many may not even know exist. Their new record, Black Tides of Obscurity, out March 6, 2020, via Season of Mist, dredges the deepest wells of grime with an eye on quality.

warmth and depth to analog synths that makes them distort nicely, and so they made their way low into the mix of some of

the tracks. I was searching for something that would sound ‘heavy’ without being a distorted guitar. I ended up using one of the stock Cubase synths with a multi-band distortion on it that had just the right level of gnarl for my tastes. It sounded heavy, but it was complementary to distorted guitars instead of fighting with them.�

Lyrically speaking, the record takes its cues from themes of cosmic, Lovecraftian horror, and the human fascination with these ideas.

“Cosmic, existentialist horror is a relatively modern phenomenon within the traditions of literary horror, and it’s barely a stretch to use it as an allegory for the similarly modern awareness of mental health,â€? Bridgeman says of the band’s epic themes. “At the core, it’s an album about human frailty and insignificance, and the naivety of trying to create [a] theistic framework for a reality that is ultimately a solipsistic fantasy.â€? đ&#x;’Ł PHOTO BY EMANUEL RUDNICKI

“In short, this album is Earth Rot as we’ve always heard ourselves—the new release has taken it to the next level in terms of production filthiness,� says vocalist and bassist Jared Bridgeman. “This band’s sound requires a degree of finesse when it comes to production. We’re obviously going for the nastiest production we can get, whilst also trying to maintain enough clarity for the musical ideas we’re trying to put across.�

In addition to valuing filth in production, the band aren’t afraid to look outside of the familiar or the expected when it comes to their influences, sourcing from both electronic music and literature. “I’ve found a lot of inspiration lately in the textures of synthwave and drum ’n’ bass,� Bridgeman says. “There’s a certain

INTERVIEW WITH GUITARIST, SINGER, SONGWRITER, AND PRODUCER TOMMIE ERIKSSON

BY ADDISON HERRON-WHEELER lack metal is a sacred thing, an energy, “The more mass something has, the more and when it’s infused with dark magic, gravity, and if it goes to an extreme, we spirituality, and bluesy, heavy riffs, have a black hole, which is a hole in the web of the universe, and a gate to Uniit has infinite power. Saturnalia Temple verse B opens,� Eriksson says. “We are the know how to harness and shift that power black hole, spiritually and musically.� into something new, different, and fresh.

Their latest record, Gravity, out now via Listenable Records, captures the sound “All our songs and lyrics ever have been based on my 25-plus years of dark, spiritual and tone they’ve been striving for, even if initiation and magical work,â€? he continues. not every twist and turn was planned. “The material the band releases are digested results, experiences, and concepts from this “All our albums have taken a decisive step in a new and unexpected direction,â€? Great Work. So, it is not just emotions, but otherworldly experiences and states of mind guitarist, vocalist, and songwriter Tommie beyond the mundane. So, if one is spiritually Eriksson says. “To the Other had the blues/ open, to come into the vibration of this band black metal of the title track, which was is to begin a process of individuation.â€? another step into the unknown. What is most important to me is that I feel I Look out for Saturnalia Temple touring managed to surpass this with the new title Europe this February supported by Dread track, ‘Gravity.’ Here, we are using tones and notes that we never heard before, Sovereign and Wolvennest as well as a U.S. tour coming soon, specifics to be announced. and it felt like really taking a step into uncharted territory.â€? “We will keep hypnotizing ourselves with The record explores themes of esoteric, our music, and make sure to record it in our own fashion,â€? Eriksson adds. “We will magical, and scientific components working together beyond space and time. never stop finding new sounds and vibrations. We have staked out an interesting Enough gravity leads to a black hole, the direction and will keep to it.â€? đ&#x;’Ł đ&#x;’Ł đ&#x;’Ł sonic equivalent of Saturnalia Temple.

14 NEW NOISE

WONDERFULLY WICKED we’re getting a lot of attention from North think that’s because they started from America.� certain cities where they all had these big communities and they grew from each other, and I think that’s happening in Denmark.� As for the future of Konvent, Withington Brink wants to see how far the band can go.

Now, ready to promote their massive and INTERVIEW WITH BASSIST HEIDI WITHINGTON BRINK acclaimed debut, Konvent are set to tour Europe, playing concerts in places they’ve “From the beginning, I’ve always had the

BY DOUGLAS MENAGH idea that we can take this far,â€? she says. never performed before. and Norway, we don’t have as many bands “The other guys were like, ‘yeah we’ll see, we onvent is a doom and death metal band don’t think so.’ But I think they’re starting to from Denmark, who released their le- that make it outside the underground, but I “We’re all getting more excited about getting think we’re getting there.â€? be like, ‘fuck, what’s going on?’ People are thal debut, Puritan Masochism, through more shows,â€? says Withington Brink. “Getting actually liking it, and we’re getting attention Napalm Records on Jan. 24, 2020. more festival gigs, being able to maybe go Konvent wrote and released a demo in 2017. on tour with a bigger band as support, and we never thought we’d get. Their ideas are Soon afterwards, they got picked up by not just Europe, but perhaps at one point changing of what we’re capable of, and “I like the way we take something that can Napalm Records. what we’re able to do.â€? đ&#x;’Ł sound very deadly, and then put it on these going to the States, because apparently heavy, slow melodies,â€? says bassist Heidi Withington Brink on the band’s pulverizing “When we got approached by Napalm Records in 2018, that’s when it started getting sound. serious with the songwriting. Most of the beginning of 2019 was spent on writing [Puritan Konvent formed in 2015 and also feature Masochism].â€?

Rikke Emilie List on vocals, Sara Helena Nørregaard on guitar, and Julie Simonsen on drums. “At the time, one of my room- On song writing, Withington Brink says the process is open and collaborative, in that mates was teaching another girl to drum everyone gets involved. [who was] on the same level as me,â€? says Withington Brink. “We got together, and her sister was Rikke, who is now the lead singer, “Me or Sara come up with a few riffs, and we both do one or the other,â€? she says. “It’s a and they both knew Sara through the metal very fluent working process.â€? community.â€?

K

After their formation, Konvent made their bones in Denmark’s underground metal scene. “There is a big underground scene here,� says Withington Brink. “If you compare it to the other Scandinavian countries, like Sweden

With the release of Puritan Masochism, Konvent are meeting acclaim and elevating the metal scene back home. “I think with Sweden, they have this death metal scene, and they also have this great ’70s rock scene,� says Withington Brink. “I

INTERVIEW WITH SINGER / BASSIST ALLISON “SUNNY� FARIS BY MARIKA ZORZI

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The lineup on this album is Faris, Laura The cohesive power of Blackwater HolyHopkins (guitar/vocals) and Sarah McK- light is amplified in Veils of Winter. enna (synths), with new guitarist Mikayla Mayhew and drummer Eliese Dorsay “We definitely operate within the circle of fleshing out the band’s sound in exciting a family dynamic, sisterhood, coven, and ways. creative partnership,� Faris says. “I think it comes out more in Veils of Winter because “Their addition 100 percent influenced of the fact that it was a true collaboration.

Veils of Winter,� says Faris. “This album Going into recording, we all wanted to was a collaborative effort between all of give each other space to be ourselves, us; there is absolutely no way the album and support each other in being our“We’ve definitely grown and matured, as selves. That dynamic is something we’re musicians, individuals and as a group,� would sound the way it does if they were not a part of it.� always working on, but was certainly a singer and bassist Allison ‘Sunny’ Faris says. focus point heading into the studio.�

Portland, Oregon’s Blackwater Holylight, as the name suggests, are all about contrasts. They create a fluid union of sound that's heavy, psychedelic, melodic, terrifying, and beautiful all at once. After their highly experimental, self-titled debut, the band are now trying a new and more mature sound with Veils of Winter, released through RidingEasy Records.

“We are all so dynamic as individuals,� she continues. “It really keeps a lot of doors open for us during the writing process. I love all our differences, because it allows space for us to present ideas to each other that we would never have gotten to on our own, or if we were all confined to the same influences both in life and musically. It’s amazing to lay down foundations for each other, and be able to get excited about each other’s ideas and grow from them.�

Although they’re a heavy band, Blackwater Holylight’s songs aren't attached to riffs.

Their sound is hypnotic, with orchestral structures that build tension and intrigue before turning the song on its head, not by simply getting louder or heavier, nor by just layering elements. “We knew we wanted to be heavier than

16 NEW NOISE

the first album, and had more ideas on production,� Faris says. “Working with our engineer Dylan White was a dream, and he really helped us unfold our ideas on this into the recordings. All of these sounds and combinations are just another example of us giving space for all our individual ideas.�

She goes on to explain that the themes of Veils of Winter are a pure celebration of life and respect. “All the lyrics on the album reflect life situations we went through both in our personal lives and as a group. Themes of loss, love, weight, and grief. Also, empowerment and growth.

Both the music and the lyrics were outlets for healing in some way or another. We all feel we want to create an environment in which we feel safe to play music and create. We’re just trying to put ourselves out there and say, ‘Hey, we’re allowed to be here’ and just be honest and rock out!� “We are giving a voice to women/non-binary, or women-identifying people,� Faris says. “There are more and more femme bands coming to the surface, and I think it’s really beautiful that everyone can get up on stage and support each other’s music.

We want to show that anyone can hop on stage, and they don’t have to be a certain way to fill the masculine outlines that have been drawn out for years. You can just do what you want, and it’s powerful and amazing.â€? đ&#x;’Ł

REPACKAGED GOODNESS

SIGHTLESS PIT

INTERVIEW WITH VOCALIST DYLAN WALKER

BY MARIKA ZORZI

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ee Buford of The Body, Kristin Hayter of Lingua Ignota, and Dylan Walker from Full of Hell combined their profound talents and eclectic tastes to make music in a new project called Sightless Pit. The trio released their first album, Grave of a Dog, via Thrill Jockey on February 21, 2020. As Walker notes, the album was crafted without any clear rules or guidelines beyond their desire to work with one another.

“We didn’t know what it was going to sound like,� he says. “We didn’t have any guidelines or rules to hit. We just wanted to make something together. That was what made it so unique for us when we were working on it. That’s probably why it took so long, too, because it wasn’t a project that was based around any timelines.�

The name of the project was taken from The Elder Scrolls, a series of action role-playing video games. “I always thought that location name was so striking, and I wanted to use it for something,�

Walker says. “Sightless Pit is basically this labyrinthine channel that the player falls into, and you have to go forward; you can’t go back. And it’s infested with these things called Falmer. They used to be elves, but they’re these blind, evil creatures now. But it’s just a

“In one sense, we looked at it like the grave of a human that maybe had been devalued, a person whose name ceased to matter, their really beautiful, striking name, and there the whole identity wiped,� Walker says. “They’re connection ends with Elder Scrolls.� just in a hole and buried and forgotten As Walker notes, the entrance to the Sight- forever from history. I think for me and Lee less Pit is a straight drop down, meaning the especially, I think a true literal meaning of only way out of the cave is to go forward. burying your own dog also just carries a This notion very well represents the central pretty heavy weight. Nowadays, I always pillar of what coheres the three band mem- want the work to be open to interpretation because I feel like my most magical mobers into a unified voice throughout the ments as a fan of music and art are when album: a shared, bleak vision of existence I draw my own conclusions. And the artist and a willingness to follow each other into always has their intention, but when it goes bold, new territory to survive.

Loobkoff’s riffs hooked to Barnett’s words are pure fun to scream along to from the bottom of your voice box, at the top of your lungs, as the heart blows out of your laptop speakers. Ways Away cry “let it go�—the way independent people respond to indie music. That yell lifts the album up, lets it grow wings and “GO!� With an album on the way, the band dropped two tunes on Instagram and booked three California shows in February. Away it goes, as fast as a land speed racer. “I grew up on Sergie’s bands, Knapsack and Samiam,� says Barnett. “Then, ob-

18 NEW NOISE

“We all have so much respect for each other,�

Walker explains. “We just went in organically, and everybody just spoke up if they felt like something should be somewhere. I can’t overstate that enough. I think that we just have personalities that are compatible enough, and nobody has an ego about making sure that their part is heard over others’, or there was never a concern about whether it was balanced equally. It just kind of worked out. It was very intuitive.â€? đ&#x;’Ł

“I was really into this Biblical story at that moment,� he continues. “Ezekiel seeing this burning wheel, the question of him turning away from that and braving this cold world by himself. So that was my headspace; essentially I was just writing from that perspective.�

Along with the music, the title of the album is also open to many interpretations.

INTERVIEW WITH SERGIE LOOBKOFF AND VOCALIST/ SONGWRITER JESSE BARNETT BY JOSHUA MARANHAS

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Adding Buford’s singular percussion and production to Walker’s venomous scream and Hayter’s virtuosic voice, the trio create a path all their own for a passionately dynamic and exhilarating experience.

“The record is very much a winter record for me,� Walker says. “I wrote all of my lyrics in the winter, thinking about the brutality of mother nature and what it must’ve been in more of a frontier scenario. As a person with nothing, and maybe in another time period, struggling against winter, it’s one of those insurmountable things. You can’t win.

Nature wins every time.�

PHOTO BY JEFFREY LEE BEAULIEU

when I went, ‘Oh, okay, cool. I am going to do a new band.�

ergie Loobkoff of Samiam and Racquet Club, Jesse Barnett of Stick To Your Guns and Wish You Were Here, Ian Smith of Racquet Club, and Jared Shavelson of Boysetsfire and Paint It Black join together for a thrust at melodic hardcore with a strong indie influence. Ways Away satisfy a very primal punk-DNA urge and grow it to cerebral heights full of serotonin. The band’s self-titled record is set to be released in May.

out into the world, it’s everybody’s music. It belongs to them now, and whatever they get from it is so valid to me that I want to hear what they think, and I want to validate whatever they feel like it’s about.�

“Sergie was like, ‘Okay, we only have two weeks to do a record,’� Barnett chimes in. “Okay, I have a buddy named Beau [Burchell] who’s in a band called Saosin.

He can do it. I think he was kinda surprised at how quickly it all came together.�

True art from truthful artists happens.

The year ahead looks to be a strong one for Ways Away. The band may have come together like a rocket on a quarter-mile track, but their music is Indy 500—robust and sleek and will surely endure to a meaningful finish. đ&#x;’Ł

viously, when they put out the Racquet Club record, I was just like, Jesus fucking Christ, this guy can do no wrong. I’m an enormous indie rock fan, you know. Nada Surf is one of my favorite bands of all time. I love all the [Mike] Kinsella family bands, like fucking American Football, Owen, Owls, Cap’n Jazz, Joan Of Arc, and all that kind of shit as well. I think when Sergie found out about Wish You Were Here, which is my solo shit, he was a little bit more, ‘Oh, okay.’� “You know, I was kind of flattered,� Loobkoff adds. “For me, finding a crummy singer isn't that interesting. The odds of finding a good singer aren’t that good. Then it just fell into place with Jesse. And not only musically, but I really gel with him.�

That connection led to a blue flame burning hot and fast. “We hit it off the first day,� Loobkoff says. “[Jesse] had taken home one of our songs and just did an iPhone recording to sing on it, and we were all, ‘Oh, shit.’ That's

PHOTO BY JON WEINER

FINDING COMFORT IN THE UNCOMFORTABLE The album artwork, a stunning painting by French artist Sonia Merah, also helps to pull things together. It is, in and of itself, a work of art, but when paired with the sounds of The Vanishing, it becomes a truly haunting and mesmerizing vision of some terribly twisted, alternate reality.

INTERVIEW WITH FOUNDER AND MULTI-INSTRUMENTALIST DANA SCHECHTER BY MARIKA ZORZI

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usic just always mirrors what is happening in my life,� says Dana Schechter. “I feel that life has become more and more chaotic. Everywhere, in the world and in personal life as well, and so the need to strip things down to their basic essence is something that has brought me a lot of calmness, which is really crucial for staying alive.�

Since the conception of Insect Ark, founder and multi-instrumentalist Schechter has been crafting uncomfortable soundscapes that feel both intimate and ice-cold. Terrifying, horror film-like visions, outer space travel, and realistic, noir textures were explored on Portal / Well (2015) and Marrow Hymns (2018). In 2020, Schechter is back with a new band member and a new album, The Vanishing, out February 28, 2020, via Profound Lore Records. “The album’s title refers to a recurring daydream,� Schechter explains. “It’s something that I’ve seen in my head, specifically about the ocean and the expansiveness of it. It doesn’t get any clearer, or more empty, than that—the horizon and water, being in a small boat, and never coming back. It has to do with the impermanence of life. That

we’re just here for a minute, and then we fade off. I want to not forget that life can be over so quickly and not to take it for granted because, at any point, we can just fail to exist. We’re not immortal, and we tend to forget that.�

“I think that it totally fits with the title of the album,â€? Schechter says. “Just so mysterious, kind of scary, and really dark. It’s human but not. I see all different kinds of things in it. For me, it’s somewhere between DalĂ­ and Francis Bacon who are two of my favorite painters.â€? “I used to be a painter, actually,â€? she con-

These feelings are well-represented in The Vanishing. It’s heavier, darker, and denser than anything Insect Ark have ever done without losing any of the writing characteristics that have become synonymous with the band’s personality.

Known for her collaborations with Swans (she is now part of the touring lineup), Angels Of Light, Gnaw, Zeal & Ardor, Wrekmeister Harmonies, and Ă…rabrot, Schechter is now joined by former SubRosa drummer Andy Patterson, also known for his bands DĂ˜NE, the Otolith, INVADRS, and as owner/ operator of Salt Lake City recording studio The Boar’s Nest. This partnership appears to have completed the true essence of Insect Ark. “This [album] in particular was pretty chaotic initially,â€? Schechter says. "I really had to crank through some of the creative ideas in a way that was not very relaxing, but Andy was great, and he totally pulled a lot of shit together.â€?

PHOTO BY CHRIS CARLONE

M INTERVIEW WITH MULTI-INSTRUMENTALIST MADELINE JOHNSTON BY CHRISTOPHER J. HARRINGTON

idwife’s newest record Forever, out April 10 via The Flenser, constructs itself as an earth-worn time capsule.

The simplicity is shattering. Its songs weigh heavily in your heart. The sparse loops and gentle directness sit still in the air of eternity. This is a eulogy of much force, a “letter� to Madeline Johnston’s close friend Colin Ward, who passed away unexpectedly in 2018. Johnston is able to break away momentarily. She is able to connect the greater notion of loss, and in doing so, honors not only her friend but also the experience of life itself.

“It hit me like a bomb. Imprinted itself on me,� Johnston says of the tragedy. “There isn’t a way to recover from grief. It doesn’t go away—it just changes. Colin was the most prolific artist and musician I’ve ever known. So it really made sense to turn towards art to work through it and try to understand it.�

Throughout the six-song record, Johnston creates a landscape of emotional and metaphysical terror but ultimately transforms it into a love song, with the closer “S.W.I.M� stretching out like a rainbow in the desert: an eternal light for all to bear. “It’s probably my favorite song on the record,� Johnston remarks. “It’s an anthem for those who are struggling. I wrote it for Colin, and for Jonathan Bitz, and for Andrew Boeglin. It was written for everyone who is having a hard time. When I’ve been playing it live lately, people keep saying it’s a positive song—which

20 NEW NOISE

tinues. “But I stopped because I decided that music would be my focus. I have tried to not do music before, and it didn’t work.

It’s a little bit like not eating, and when you suddenly realize that, you feel horrible.

And you realize that you’re completely depleted, and that there is something missing that you didn’t realize. Words have never been my best vehicle for expression. They just never have been.

So, this is one of the reasons that I don’t really worry about having vocals in this project. Making music is very important to me. When I go too long without it, I feel like I’ve been really neglecting something important inside of myself.â€? đ&#x;’Ł

I think is really funny because to me, it’s completely devastating. I think shedding light on dark themes can be a positive action, to really be able to see them.�

Forever is visual in the sense that you can “see� the connection, the relationship between Johnston and Ward. You can embody the astral projection their energy created. You can hear the stars that flashed, the moons that sparkled, the love that fused as a knot in the twisted journey of life. Johnston is able to paint the picture and to escape by encompassing it. “The process of writing the album was certainly painful, but it was also cathartic for me,� she says. “It brought up a lot of memories. I liked having somewhere to place them. It felt good to express certain things that were just trapped in my head with nowhere to go. When I listen to it now, I feel proud I was able to finish it. I don’t feel better about this loss; I don’t miss Colin less, but I do feel a little bit closer to him, and in some ways, I think he can hear it, too.�

Johnston’s guitar flutters, bends, and echoes like metal through the sky. Her voice dances lightly around the tones, transforming the sound into print. She hangs her “letterâ€? onto the stars as they burn thousands and thousands of light years from now. “I will never forget you,â€? she sings in “Language,â€? welcoming the vast emptiness that is life. đ&#x;’Ł

...IT ALL BEGINS WITH A RIFF...

Raspberry Bulbs

in other ways than simply starting with a guitar riff. They are incredibly fun and experimental to create.�

The sound effects packed into those interlude tracks deliver brief-but-ominous respites. Del Rio cites “weird fiction writers� among those driving him towards the band’s uniquely immersive take. “I’m a student in the universe of music culture,� he comments. “I would say that I am always working with themes and symbolism of black metal. I am deeply inspired by weird fiction writers like Poe, Machen, Blackwood, Shiel, M.R. James, and Aickman. But I am always looking for a way to push the boundaries and open the doors to let my own personality in. I somehow have to fit being an American from California, born after 1980, into this archaic theme.�

No matter the potential hurdles, the band’s gripping music has marched on. “It’s an album in the tradition of aggressive music from the last 50 years—that’s the track to be on,� del Rio shares, and he’s got the clearly laid-out focus to back that perspective up.

INTERVIEW WITH VOCALIST M. DEL RIO BY CALEB R. NEWTON

N

ew York City’s Raspberry Bulbs have landed a spot with Relapse Records for their new album, Before The Age Of Mirrors, out on February 21, but they’ve founded their latest, intense musical journey on reaching backwards.

Their frantically noisy, blackened punk sound veers right on back to the spark that started it all—the relentless riff.

Amidst the band’s grinding chaos, powerful, punk-style riffs figure prominently on the new album.

From there, project founder and frontman M. del Rio also hoped to chart a story of crushing introspection which makes for a gripping listening experience all around.

“It’s a journey that’s supposed to travel backwards the entire way to 1970 when The Stooges released Funhouse and Black Sabbath released their first album,� del Rio explains.

The group’s reference points also include ’90s-era bands that del Rio grew up with and other projects involving the band’s members like del Rio’s black metal band Bone Awl and Nick Forte’s NYC-area hardcore group Rorschach.

berry Bulbs well. Although their new album includes plenty of bitterness-soaked aggression, the band also include four “interlude� tracks in which they explore softer, but still erratically disorienting, beats.

“Interludes really help break up Del Rio and his fellow Raspberry an album like this, which is very Bulbs members give the journey guitar-oriented,� del Rio notes. gripping, emotional resonance “They also allow us to with their chaotic but consistently, branch out and startlingly melodic music. try creating music “The lyrics and themes are intended to inspire an uncanny feeling of recollection,� he explains. “That you are swimming to the bottom of the ocean, and at its bottom you find not only the story of your own origins written in the rock, but also the story of humanity’s origin. Then you also realize that you’re out of breath.�

“The process typically begins with a riff. I think all metal music should start this way. The riff is the spark which starts the whole song writing process. The songs start with very simple means, but then they often blossom into something else once I start collaborating with the rest of the band. It gives it a living dynamic, and the songs become that much more rich and realized.â€? đ&#x;’Ł đ&#x;’Ł đ&#x;’Ł

The experience he describes suits the cacophonous music of Rasp-

“IT’S AN ALBUM IN THE TRADITION OF AGGRESSIVE MUSIC FROM THE LAST 50 YEARS—THAT’S THE TRACK TO BE ON.�

NEW NOISE 21

PHOTO BY VINCE SADONIS

THE DEVIL PLAYS ALT/COUNTRY

a hint of alt-country that fans have come to love. Steiner doesn’t mind being labelled as either indie/punk or alt-country. “I am happy being classified in either of those genres,� she says. “We definitely do come from the DIY/ indie/punk scene; that’s what we came up in, touring and busting our butts on the road, booking our own tours for years.�

Country music is bleeding into other genres, including punk and hip-hop, now more than ever before. And Steiner is here for it. “There’s gotta be something about country music that is just a universal thing,� she says. "Maybe it’s similar to pop music, where at the heart of it, there’s stories and simple chord structures and emotions."

Steiner demoed many of the songs on Printer’s Devil at her childhood home in Louisville, Kentucky. “It is the home that I grew up in,� she says. “So, I lived there from when I was 7 until I left for college and would always come back there until recently, until last year. I felt very at peace there.�

INTERVIEW WITH VOCALIST AND SONGWRITER JULIA STEINER BY JOHN SILVA

I

“

“I love rock music, and I love guitars, so I definitely wasn’t trying to shy away from that,� says Ratboys frontperson Julia Steiner.

Part of the reason Ratboys sound fuller on this record is that the band—previously a duo of Steiner and guitarist Dave Sagan—added two new members. Drummer Marcus Nuccio and bassist Sean Neumann have toured with Ratboys, but now they are contributing in a recording capacity as well.

The band’s third LP, Printer’s Devil, which is out February 28, 2020 on Topshelf Records, is their most rock-forward work to date. Fans of the band will hear everything they loved about the previous two records, but this one “They’re both just super seasoned is bigger and more mature. musicians and great friends,â€? Steiner says. “So, it was a cool environ“In addition to having a more rockin’ ment this time ’cause we had some sound, for me it’s just having a more trust built up from touring together. confident sound. I think we’re gelling at the right time,â€? Steiner says.Â

They were able to provide a really “It felt like a nice punctuation special perspective that we didn’t mark at the end of that sentence, have before as far as making some- like, that part of my life,â€? Steiner thing sound how we sound as a says. “I wrote so many songs there. band, because we had toured so That’s where I wrote my first song much together, the four of us. It was and where I continued to explore cool to pretty much try to record our as a songwriter, so it just felt very natural to be there and a little bit live sound. emotional. But I wasn’t really letPrinter’s Devil takes a more pop punk ting myself get too caught up in it.â€? direction than the previous two LPs. đ&#x;’Ł đ&#x;’Ł đ&#x;’Ł But it’s still Ratboys, and they still bring that sincere indie rock with

QUOTE HERE?

22 NEW NOISE

With Steiner's parents moving, the home was mostly empty when she and Sagan arrived.

PHOTOGRAPHY BY VINCE SADONIS

SWEET SONIC BOOZY BLISS

T

INTERVIEW WITH VOCALIST JACQUE MENDEZ BY JOHN B. MOORE

hanks to a bottle of brown booze, Hey, Chels’ fate was sealed one day about three years ago. The band name came a little while later. “Ricky [Schmidt, bass] and I had an idea a while back to start a project together,� says Jacque Mendez. “We wrote a song just for fun and to see what we could create back in 2016. That song is now ‘I Know You Are, But What Am I?’ off of our first, self-titled EP. We wrote it and recorded it in a day over a bottle of whiskey. The lyrics were silly and changed later. However, we were pretty happy with the sound we created, so we decided to turn it into something.�

Shortly after, they asked Kevin White to join on guitar, and, after writing for a bit as a three-piece, they brought in Steph Presz on drums.

Hey, Chels are following up their the group have worked out a sched- band had officially formed, Ricky debut EP with an LP later this year. ule that’s flexible enough for all. and I had been brainstorming The music is there; they are just sortband names. We weren’t liking ing out the specifics. “We pretty much have a system down any of the other’s ideas until this by now,� Mendez says. “Ricky and one night we were out with some “When we decided to commit to this I will write and record the songs friends in Oakland. I was having project, we agreed to record an as demos at home and then send a conversation with a friend at a EP, tour it up the West Coast, and them to Steph and Kevin. Kevin has bar, and the song “Hey Jealousy� then see how we felt about moving also recorded some of his ideas for by The Gin Blossoms began to play. forward,� Mendez says. “After that songs and shared them with us in I told this person how, when I was tour, which was just about a year the same way. From there, everyone younger, I used to think the lyrics ago, I knew that I wanted to keep works out what they want to bring to were “Hey Chelsea.� For some reaHey, Chels going. We spent the rest the song, and we re-track the songs son, I liked the sound of it as soon of the year playing festivals here as they progress.� as I said it, and I ran straight over and there but mostly on writing for to Ricky to tell him the idea.� a full-length. By November, we had And band practices? They just have written and recorded our very first to schedule those way in advance.

The two also happen to have a LP. This new record is certainly an good friend named Chelsea whom indication that Hey, Chels is more Finally, back to the origins of the they refer to as Chels. than a fun project.â€? name, Hey, Chels. There's this unwritten rule that’s it's not cool to ask “She is the Chels of Hey, Chels. BeSchmidt is a member of Western about a band's moniker, but... ing one of the friendliest and loveSettings, and the rest of the band liest bartenders in San Diego, ‘hey, have other commitments as well, “I actually really enjoy telling this Chels!’ is a phrase she hears quite but over the past couple of years, story,â€? says Mendez. “Before the often.â€? đ&#x;’Ł đ&#x;’Ł đ&#x;’Ł

NEW NOISE 23

LAYING ON THE LOVE THICK PULL QUOTE

INTERVIEW WITH VOCALIST/GUITARIST / BASSIST KATE BLACK, VOCALIST/GUITARIST NIKKI SISTI, AND VOCALIST/DRUMMER SHARI PAGE

BY GEN HANDLEY

O

f all the music meccas that exist across the globe, none have been as influential as the city of New York—particularly when it comes to punk rock.

Since the late ’60s, the Big Apple has been a fertile ground for punk, producing countless sub-genres and sub-scenes. To this day, New York continues to make its mark on the scene with waves of bands, good and bad, flowing out of its many gritty bars and stages.

One of the most recent and promising of these artists are THICK, an energetic, opinionated trio who, after three well-received EPs, are releasing their first full-length, 5 Years Behind, on March 6, 2020 via Epitaph Records.

PHOTO BY DEVON BRISTOL SHAW

One of the most recent and promising of these artists is THICK, an energetic, opinionated trio who, after three well-received EPs, are releasing their first full-length, 5 Years Behind, on March 6, 2020, via Epitaph Records.

“It was something that kind of resonated with all three of us in terms of always feeling like a late bloomer of personal turmoil and political Within this creative liberation, sponse, but music helps you heal,� in life,� she explains. “Where you’re discontent. Catharsis for the band THICK find solace in their songs and says Black. “I can personally relate constantly comparing yourself to members occurs when humor is in the impassioned performances to every song on this album. They’re the expectations you set up for injected into the controlled fury and the band is increasingly becoming songs that make you feel happy, but yourself when you were younger, frustration. known for at the same time emotional. The or the expectations that were set song, ‘Won’t Back Down,’ I think up by parents or society. The song “The song ‘Fake News,’ which we all “It’s just genuine, fun, and really ener- there’s such a sense of emotion to kind of encapsulates feeling a little wrote, has a sense of humor,� says getic,� says guitarist and vocalist Nikki it. I think the album makes people bit behind everything else in your drummer and vocalist Shari Page. Sisti. “We go wild—we headbang; we feel at home because of everything life and just feeling that pressure to “It’s about not necessarily battling jump around; it really is genuine en- going on.� something with a negative tone to it. ergy. I think if you come to our shows, catch up.�

We’re offering an opinion of what’s you see that we’re really having fun “Shari, I love that,â€? Black adds, This sentiment and more are deliv- going on and finding a little bit of and enjoying ourselves.â€? laughing affectionately. “I want ered via catchy, melodic vocals, that humor in it. Growing up, watching people to feel at home with our occasionally find themselves caught the news, it would always really The trio also experience healing in album - that’s so sweet. ‘Come on in a cyclone of chaotic freneticism scare me. And even now, watching the songs themselves. into our living room, come have a and impassioned declarations the news, it still really scares me.â€? “Not to give the cheesy typical re- slumber party with us.’â€? đ&#x;’Ł

24 NEW NOISE

We're All In This Together

PHOTOGRAPHY BY APERTURE FOR DESTRUCTION

26 NEW NOISE

INTERVIEW WITH VOCALIST AND GUITARIST LAUREN DENITZIO BY BEN SAILER

H

ow do you plan for the future when it feels like the world is coming to an end?

It’s a harrowing question that’s growing more practical and less hypothetical by the day. If you’re wrestling with this particular contradiction of modern life, though, Worriers’ primary songwriter Lauren Denitzio wants you to know you’re not alone. On You or Someone You Know, the band’s third full-length due out March 6, 2020, on 6131 Re-

cords, they invite listeners to explore our collective sense of existential dread together and just maybe see some light through the darkness.

ities, whether they manifest themselves as unrealistic socio-economic expectations, pressure from toxic social norms, or otherwise struggling to find your place in a world that doesn’t seem to have room for you.

on winning capitalism; super heteronormative, monogamous relationships; or having kids; or even living in one place for a long time.�

In that spirit, there’s very much a While You or Someone You Know was “we’re all in this together� message written within the context of struggling to exist on a planet seemingly “I try to get the point across that the being delivered here. In order to on the verge of collapse, it was also way that we were told things were capture an inclusive vibe and drive written to be relatable. Rather than going to turn out might not be what that point home with big rock ’n’ dealing with the technical machina- actually happens, but that doesn't roll hooks, Worriers worked with tions of social, political, and envi- necessarily mean that it's bad,� producer John Agnello (Sonic Youth, ronmental degradation, it explores Denitzio explains. “There are ways to Kurt Vile, Hop Along). Agnello had how it feels to exist with those real- exist in the world that aren't reliant the band record live, giving the al-

“BUT, IT'S SUNNY ALL THE TIME. IT'S GORGEOUS, AND MY KIND OF SONGWRITING STRATEGY, OR THE WAY THAT I END UP WRITING SONGS A LOT OF TIMES IS, IT SOUNDS HAPPIER AND MORE UPBEAT, BUT IT’S ACTUALLY ABOUT PRETTY DIFFICULT OR DARK TOPICS.�

bum a warm and loud feel that suits its welcoming, life-affirming spirit. “He gave us the exact sort of collaborative feedback that that I wanted when thinking about working with a producer for this record,� says Denitzio.

The end product might sound surprisingly upbeat for an album that deals with dark subject matter, but then again, pushing through painful

experiences with powerful, punk melodies has always been Worriers’ calling card. Accessibility almost feels part and parcel of the idea of being relatable—if it’s easy to get into, then it’s easier to get the message. New guitarist and longtime friend Frank Piegaro’s playing is a natural fit for the band’s signature lead hooks, tying together a sound that’s familiar yet bigger, louder, and more polished.

Denitzio recently relocated to Los you might have in the U.S., you can Angeles from Philadelphia, and totally find it here,� Denitzio laughs. they couldn’t have asked for a “But, it's sunny all the time. It's gormore fitting city to provide the geous, and my kind of songwriting backdrop for writing the new re- strategy, or the way that I end up cord. As they explain, it’s a place writing songs a lot of times is, it that’s both beautiful and yet strug- sounds happier and more upbeat, gling, and it’s hard not to feel that but it’s actually about pretty diffithe connection between the album cult or dark topics. I feel like there's and their surroundings is at least a this weird connection between that little poetic. vibe and what L.A. is actually like.

I feel like those two things match “Any sort of apocalyptic feeling that together really well.â€? đ&#x;’Ł

NEW NOISE 27

IF YOU CRAVE THE SNEERING, BRASH PUNK DEGENERACY OF THE SPITS, RAMONES, AND STOOGES, WE’VE GOT A DOSE OF NEW SOUNDS TO SCRATCH THAT DENIM AND LEATHER-CLAD ITCH.

INTERVIEW WITH BASSIST / VOCALIST EAMON SANDWITH

BY TOM CRANDLE

PHOTOGRAPHY BY ALAN SNODGRASS

28 NEW NOISE

5 ESSENTIAL AUSTRALIAN

PUNK RECORDS

BY TOM CRANDLE Over the last couple of years, brash Australian bands like The Chats, Amyl and the Sniffers, and Clowns have been all the rage in punk circles. While they may not be the latest and greatest, Australia has a rich punk history. For those who would like to take a deeper dive, here are five essential punk records from the Land Down Under.

T

he Chats are the latest in a bands,� he says. “But at the moment, In terms of production, High Risk string of great punk bands there are a ridiculous amount of Behavior is a major step up from the from the Land Down Under. bands making sick music. I don’t know band’s first two EPs. The biggest difBassist and vocalist Eamon Sandwith, why. Maybe something in the water.� ference according to Sandwith? guitarist Josh Price, and drummer Matt Boggis have created quite a Unlike previous generations of punk, “A bass amp and better mixing,� he buzz in their relatively brief existence. there doesn’t seem to be one single, bluntly states. The buzzsaw guitar, the The young, loud, and snotty trio will unifying social or political factor in minimalist drums, and the new, imrelease their first full length, High Risk the movement. proved bass work together in perfect, Behaviour, on their own Bargain Bin chaotic harmony. Records, on March 27, 2020. “I think everyone is pretty like-minded, but I reckon it’s mostly random,� When it comes to songwriting, the The Chats are so Australian that you Sandwith opines. key for Sandwith seems to be to might sometimes feel like you need keep it simple. a translator. Apparently, Australians The Chats plan to use their label to love their slang and abbreviations. help expose the world to other Aus- “I usually think of a subject, or even just Even the band’s name doesn’t mean tralian bands. a title, and go from there,� he says. “I what it seems [Chat - noun - somethink about what makes it interesting thing shit, terrible, or ugly]. Last year, “We’ve already released some great or boring and try to convey that in their viral video “Smoko� introduced Aussie music on Bargain Bin, and the lyrics. Then chuck a riff or chord much of the world to that word [Smoko we plan to release more in 2020!� he progression; then rip a mad solo.�

- noun - a short break from work]. happily reports.

The formula clearly works. Songs Speaking of the “Smoko� video, it’s The musical style on High Risk Be- about getting drunk, stealing dinner, also where much of the world was haviour is decidedly old-school punk. and contracting venereal disease introduced to The Chats’ glorious Sandwith often delivers his lyrics with will have you singing along, and will mullets. a sneer that would make Johnny Rot- probably be stuck in your head for ten proud. You can also clearly hear days. Refreshingly, The Chats also “I think mullets have always been echoes of their Australian predeces- feel much less bound to political corpopular in Australia, even as a coun- sors, like The Saints, Radio Birdman, rectness than most of their American terculture kind of thing,� Sandwith and Cosmic Psychos. counterparts. explains. “It’s cool to see a haircut that’s usually associated with being “We are strongly influenced by the “I reckon Australia has the same a bit daggy becoming popular again first and second wave of punk bands,� political correctness as the U.S.,�

[Daggy - adjective - untidy, disheveled, Sandwith confirms.

Sandwith says. “That being said, we or eccentric]. I think mullets definitely don’t give a shit.â€? deserve a place in punk.â€? For a band with such a strippeddown, garage-punk sound, and such The Chats will be returning to the U.S. Oz seems to be exporting more than an undeniable sense of fun, other for a major tour starting in April and their fair share of punk bands in re- sources of influence on The Chats running into May. Their first stop will cent years. The Chats, Amyl and the might seem a little less likely. be at the massive Coachella music Sniffers, and Clowns are all currently festival. American punk fans won’t making a splash Stateside and be- “Other inspirations for our sound want to miss the opportunity to catch yond. Sandwith can’t quite explain it. would be old Aussie rock bands like these self-proclaimed drongos from Midnight Oil and Painters And Dock- Down Under [Drongo – noun - idiot, “Australia has always had good punk ers,â€? Sandwith adds. stupid fellow]. đ&#x;’Ł

THE SAINTS - (I’m) Stranded (1977) The Saints are the godfathers of Australian punk. You might call them that country’s Ramones. Starting out in Brisbane in 1973, the band featured fast tempos, shouted vocals, and buzzsaw guitars. They released their first single, “(I’m) Stranded,� in 1976, and were the first punk band outside the U.S. to put out a record, before Sex Pistols or The Clash. The (I’m) Stranded LP is an undisputed punk classic. RADIO BIRDMAN - Radios Appear (1977) Timewise, Sydney’s Radio Birdman were contemporaries of The Saints. Their first full-lengths both came out the same year.

Inspired by the Detroit proto-punk of MC5 and the Stooges, Radio Birdman were probably the first Aussie band to completely embrace the punk ideology. Radios Appear is a raw, bare-knuckle, knock-down-drag-out LP that deserves a spot in any serious punk record collector’s library.

THE BIRTHDAY PARTY - Junkyard (1982) OK, so Melbourne’s The Birthday Party was actually a post-punk band. Still, they merit mentioning. Before Nick Cave perfected the murder ballad and became a household name, he was howling over the ungodly noise that was The Birthday Party.

Junkyard was the band’s best, last, and most fully formed studio record. They were dark and bleak, and way more influential than commercially successful.

COSMIC PSYCHOS - Self Totalled (1995) Cosmic Psychos, also from Melbourne, were just getting started in 1982, about the time a lot of the first-wave punk bands were falling apart. They picked up the torch for a whole new generation of punks by fusing the sound of The Stooges and Ramones with newly emerging American hardcore. Self Totalled came more than a decade into their career, but captures a band still in their prime. The primal sounds and humorous lyrics have stood the test of time.

FRENZAL RHOMB - A Man’s Not A Camel (1999) Frenzal Rhomb represent yet another generation of punk. Formed in the Sydney suburbs in 1992, they play the style of skate punk that was very popular on Epitaph and Fat Wreck Chords in the ’90s. As a matter of fact, A Man’s Not A Camel was the band’s first full length for the Fat label. Like almost all the bands listed, their specific brand of Australian humor makes for a sometimes strange, but always enjoyable, listening experience.

NEW NOISE 29

PHOTOGRAPHY BY ALAN SNODGRASS

INTERVIEW WITH VOCALIST ZACH QUINN

BY TOM CRANDLE

30 NEW NOISE

P

EARS first came crawling out of the swamps of New Orleans and onto the national scene in 2014. With a shockingly good self-released record (Go to Prison) in hand, they hit the road and took their bombastic live show to the masses.

By 2015, they had clawed their way to the top of the punk heap. A new record for punk heavy-hitters Fat Wreck Chords (Green Star) followed in 2016, and a full-length split with kindred spirits Direct Hit! came in 2017.Â

Their third LP, self-titled, will again be on Fat and drops on March 6.

Despite the three-year gap between PEARS records, singer Zach Quinn has been plenty busy.

he says. “We make records and hope “That’s a three-part answer. No! No! to connect with people, but if what No!� Quinn exclaims. we’re doing isn’t enough and we lose attention, so what? Our records and Self-titled albums are usually reshows aren’t favors we owe anyone. served for debuts or occasionally to

PEARS shows have become the stuff of legend, featuring a maniacal and seemingly unhinged Quinn stalking the audience like a wild beast. Those have also changed to

FEAR. LONELINESS. FRUSTRATION. CONFUSION. MAMBO #5.

THESE THINGS SUCK AND ARE UNATTRACTIVE. I SWEAR TO GOD I’D WRITE ABOUT SOMETHING ELSE, BUT THEY’RE ALL I’VE GOT. It’s simply our offering to the world.

Regardless of what your opinion of it is, we really care about what we do, and we never half-ass anything.�

PEARS’ meteoric rise was largely the result of relentless touring, but eventually, it became necessary for the band to slow down and take a step back.

“I had a whole relationship and started a couple of bands,� he explains. “Definitely. For several reasons. It was “It’s funny. I haven’t really been in- important to do what we did in the active in the slightest. It just kind of beginning, but you play the same timed out that nothing would come city too many times in a year, and out until 2020, but I’ve got four re- even the people who like you stop cords coming out this year.� coming,� Quinn says. “Also, it’s just so much more fun when you aren’t Quinn is not concerned that PEARS’ attempting to be financially depentime out of the spotlight might have dent on a band.� hurt their momentum among the sometimes-fickle punk crowd.

He pulls no punches when discussing whether PEARS will return to “Fuck no. Fuck it. What can you do?� full-time touring.

mark a change in musical direction.

In this case, there was definitely a purpose behind the name PEARS.

reflect the band’s growing maturity.

It’s not just shirtless, chaotic mayhem anymore.

“It’s kind of like, our developmental “Nope! Of course, there’s elements of stage is complete. I’d say this record it, but it’s evolving. Dancier, fancier, is who this band is,� Quinn asserts. “Not more fun. No real need to posture to say that development ever stops, anymore,� he explains. unless you resign to fucking sucking, but we’ve fully incubated now.� While most of PEARS is the combination of propulsive hardcore and Quinn didn’t have to look far for the melodic punk that you’ve come to lyrical inspiration for PEARS. expect, there’s still room for something new. “The drama of the aggravatingly ongoing personal life,� he claims. “Fear. “A full-on pop song!� says Quinn.

Loneliness. Frustration. Confusion. “Danced around it long enough, I Mambo #5. These things suck and guess. I think the songs on this record are unattractive. I swear to God are truly sophisticated. We’ve really I’d write about something else, but managed to hone the craft. Also, I they’re all I’ve got. But in addition, I can actually sing now. I know that’s do have hope, and that’s something kind of unbelievable, but wait until different this time around, and I you hear it. I mean, I can kind of acthink it comes through.â€? tually sing now.â€? đ&#x;’Ł

NEW NOISE

31

BLITZKREIG PHILLY BOP In fact, their influences are fairly diverse—within the punk genre.

family a few times; it's always a blast.�

While there’s not exactly an overall “I dunno if it would be surprising, theme to this record, there is a more but I listen to a lot of Clash and The cohesive sound than on their first two Jam for sure,� Shomo says. “Profes- albums. “A lot of the songs are a little sionals, Eddie and The Hot Rods, heavier,� Shomo says. “We felt a bit U.K. Subs, Cockney Rejects. Amy more comfortable trying stuff out this [Opsasnick, bass] loves The New- time around, so they just kind of came town Neurotics, Toy Dolls. Daniel pretty quickly. I could say that some [Cox, drums] is a big Adicts fan, but of the songs have a heavier personal beyond the obvious stuff, we all love meaning for me, but that's just my imhardcore and punk. Daniel has a pression. It's more that people have deep knowledge of a lot of goth and them for themselves. For what it's post-punk; Amy's main is normally worth, though, I'm really pleased with Japanese hardcore, I mostly reach how this record turned out.� for U.S. hardcore. Add all that, plus The Methadones, and that’s pretty “A lot of the songs are a little heavimuch it. I mean, to set it straight— er,� Shomo says. “We felt a bit more comfortable trying stuff out we’re punks; we like punk, ok?� this time around, so they just kind Must Be Nice came out in Decem- of came pretty quickly. I could ber 2019 on Stupid Bag Records say that some of the songs have in the U.S. and Drunken Sailor Re- a heavier personal meaning for cords overseas. Their connection me, but that's just my impression. to the beloved, U.K.-based Drunk- It's more that people have them en Sailor came about thanks to for themselves. For what it's worth the label’s founder, Julian Steven- though, I'm really pleased with son, stumbling across the band’s how this record turned out.� music organically.

Along with a brief East Coast tour “We were on tour a little after our in January, going all the way to first record came out, and Julian Florida, Dark Thoughts have lined just emailed us out of the blue,â€? Sho- up a few shows in February. In mo says. “Turns out it was a perfect March, they are flying out to play a match. He's a great friend, and the show in Athens, Greece, then headlabel is great as well. We've gotten ing to London, U.K., with plans for a the chance to go and visit him and his full U.S. tour in the spring. đ&#x;’Ł đ&#x;’Ł

PHOTOGRAPHY BY MICHAEL THORN

INTERVIEW WITH VOCALIST / GUITARIST JIM SHOMO

BY JOHN B. MOORE

P

hilly-based pop punk trio Dark Thoughts wear their Ramones influences with a sense of tenacious pride that can only come from a band that calls the City of Brotherly Love home.

Asked if he ever tires of the constant comparisons his band gets to the brothers Ramone, Dark Thoughts’ singer and guitarist Jim Shomo gives an emphatic “No!� “The Ramones are the best band in the world,� he says. “Exaggerations

32 NEW NOISE

aside, we definitely work hard to have a Ramones sound. I've called our band a Ramones band many times; I think it's the most fitting description I can come up with.�

On their latest LP, Must Be Nice, that Ramones flag still flies high.

But far from being a glorified cover band, Dark Thoughts have perfected their own satisfyingly original take on their influences, building on that ’70s punk foundation with a lyrically modern take on the genre.

DBOY

HOMETOWN: New Jersey ALBUM: Sorcery out Feb. 20, via Bangs and Burns RIYL: Contrast. Empathy. Release.

DANCE PARTY PUNK

BOIDS INTERVIEW WITH THE BAND BY NICHOLAS SENIOR

M

ontreal’s BOIDS specialize in a special kind of sonic ecstasy, and their unique dynamic has never been more evident than on their latest masterpiece. Quel Drag, out now via Stomp Records, highlights how existentialism, pop punk, new wave, and the desire to get on the damn dance floor can find common ground. The group’s unique take on dance punk is a weird and wonderful mixture indeed, but it’s their thematic twist that both calls you into their world and keeps you enraptured.

With the world so full of negativity at every turn, BOIDS focus on finding some smiles amidst the metaphorical snakes.

tween. We think that maybe you can find a lot of joy and positivity amongst the snakes, dancing in the storm and stress of life all around you.�

That all means Quel Drag is ironically named—this is the opposite of a bummer record.

So, how do the band keep a positive attitude with all that's going on? “Maybe there’s no changing some things. That being said, we have a choice in how we digest what we have to swallow.

Posi breeds positivity (our combined initials are PMA, after all), and I think that looking at things honestly together, all the curve balls we have been through as a band, has created a space where we can highlight the positivity that’s around us all the time.�

ly nail the mix of bizarro and beautiful, Quel Drag feels a bit more restrained in its oddities while keeping the band’s loveably weird personality intact.

It’s just so damn fun. “I think we wanted to set out to find some harmony between being weird and being fun,� they reflect. “It would be easy to make a record that’s so weird nobody would pay attention.

The real challenge is to frame our true, weird selves in a way that still makes people want to dance and sing along. We took a look around at punk music and saw that there was room for more danceability.�

It's rare for a band to be able to capture the frustrations of modern life while also being able to “It was really special that we write tales with lasting power. could get such succinct artwork BOIDS walk that precarious to help transmit the themes of tightrope between being politithe record,� the trio collectively BOIDS have previously joked cally aware and calling for unity, note. “Life can be full of snakes that they are “90 percent water, and an uplifting spirit. Their trying to drag you down, sap 10 percent weirdo, 100 percent goals are aligned to what could your energy, and ladders are BOIDS,� and while there really succinctly be labeled as “having sometimes few and far be- aren’t any acts that so perfect- fun and not being assholes.�

34 NEW NOISE

Dboy are what happens when a band respects your mind and your time. New Records in Human Power is a record-setting display of punk proficiency, one that somehow works equally well if you let the bombastic music take over your body or if you pay attention to the ideas at play. This is both the most interesting and engaging punk record in recent memory and one that doesn’t need your attention to be enjoyed.

It’s a masterclass in contradiction. The band collectively break down their intent: “Boiled down, Dboy serves two purposes: One, to end sonic austerity worldwide.

Two, to free global subjects from aesthetic degradation, regardless of its manifestations.� “As such, every song is an exercise in efficiency,� they say. “There's no real point in taking three minutes to say something that could be said in two. Talking too much is an expression of those who are too uninspired to realize that they have nothing good to say. It might as well come through in fast, audible expressions of love, or come through in silence. Our creative process reflects this.� “We want to liberate the global audience from their boredom and give them hope through effectively placed smoke and mirrors,� the Dboys continue. “New Records in Human Power gives the control back to our creatures of strange circumstance, underdogs, and the international network of Dboy scouts as a whole.�

“We decided long ago,â€? they note, “that we are not an overtly political band. We’re political people, and our actions can have political motivations or intentions, but no, we don’t want to be the band that writes the obvious songs. We want to be the band that brings people together for the dance party. ‘Strength through community through music.’â€? đ&#x;’Ł đ&#x;’Ł đ&#x;’Ł

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INTERVIEW WITH VOCALIST AND GUITARIST COLE ALEXANDER BY JOHN SILVA

I

n the past 20 years, Black Lips have become one of the most notorious “I think we really had to step up the bands of the garage rock scene. lyrics a little bit,â€? Alexander says. “The Known for outlandish onstage antics way the music is sometimes, like, if the accompanying their wild rock ’n’ roll lyrics aren’t very good, it kinda falls songs, the Georgia-based group grew flat. So, I felt like we couldn’t half-ass a bigger and bigger following even the lyrics as much as we’d done in the amidst various lineup changes and past. On some of the garage rock stuff, some setbacks, including the tragic you can just kind of mumble, and you death of guitarist Ben Eberbaugh in get the feeling across. But, when you 2002. The band just put out their ninth have strong lyrics in country, it really album, The Black Lips Sing‌In A World drives it home, and people allow the That’s Falling Apart, released on Jan- music to reach a deeper place within uary 24, 2020 on Vice Records, and them.â€? while it still sounds undeniably like Black Lips, this record is a new direc- Some of the songs on the new record even incorporate elements of storytion from their past work. telling, a tradition common in a lot of “We had been doing the same type country music. of oriented record—a garage rock record with a couple twangy numbers “We’ve definitely always been drawn and a couple psychedelic numbers,â€? to storytelling, narrative-type country says guitarist and vocalist Cole Alex- music,â€? Alexander explains. “A lot of ander. “It’s cool to kind of commit to that happens in truck-driving songs. one thing and kind of [have] a theme. It They were kind of geared towards truck drivers in the ’60s and ’70s befeels like a more mature record for us.â€? cause they had long drives; they were While the band might already have bored, so they do a more narrative incorporated some twang into their type thing. And we’ve always liked garage rock sound, the new LP leans that.â€? into country music more than anything Black Lips have done in the past. The record is coming at a perfect Their approach to writing this record time when a new wave of country involved doing extensive research on music is emerging that brings in a country music in order to make sure lot of people who weren’t privy to it they understood the rich genre with before. Black Lips are not the type to try to latch on to trends, so it’s entirely which they were engaging. happenstance but certainly works in “I didn’t wanna make, like, an ‘indie their favor. rock band makes a twangy record.’ I wanted to truly understand the “We never tried to follow the wave,â€? musical theory behind it,â€? Alexander Alexander says. “But, every once in a says. “So, I got pretty deep just from while, it comes around and it’s what doing research, or reading books, or we’re doing. It’s fun to try to ride. And listening to podcasts like Cocaine and currently, just coincidentally while we’re doing this, the whole country Rhinestones.â€?

“I DIDN’T WANT TO MAKE LIKE AN ‘INDIE ROCK BAND MAKES A TWANGY RECORD.’ I WANTED TO TRULY UNDERSTAND THE MUSICAL THEORY BEHIND IT.�

In studying country music and learning how to play it, Alexander formed a deeper appreciation for the genre. “It was a lot more sophisticated technically to play than I had realized,� he says. “I always thought it was a very simple form of music, and I realized how complex it can get.�

thing has gotten kind of hip in a way, and that wasn’t something we planned on, but it’s kind of funny that it's happening. So, it kind of feels like good timing.�

Alexander explains that for the first time, it feels like the direction they’re taking is aligned with what is popular in music right now.

Along with the shift in musical direction, this is Black Lips’ most lyrically “I kind of feel like what we’ve been domature album to date. As the vocals ing has been in step with the times,â€? he are more clear than on their past, says “When generally it hasn’t been. rowdier albums, they felt it was im- So that’s exciting. I feel like we’re portant to put more time and care in the moment of today for the first time.â€? đ&#x;’Ł into the lyrical content.

38 NEW NOISE

PHOTO BY DANI PUJALTE

…Go Country NEW NOISE

39

PHOTOGRAPHY BY ALAN SNODGRASS

INTERVIEW WITH SINGER / GUITARIST POLI VAN DAM

BY JOHN B. MOORE

I

t was close to a decade after The Bombpops formed that they finally delivered their first LP, Fear Of Missing Out. And, despite the line-up changes, the fits and the starts, the result was wildly satisfying. As a reward for their patient fans, the L.A.-based band are now quickly following up that debut with Death in Venice Beach, out on Mar. 13, 2020, via Fat Wreck Chords. It’s an equally impressive album, albeit one with darker themes.

Poli van Dam, co-singer and guitarist for The Bombpops, admits these songs came to the band pretty quickly.

“Recording Fear Of Missing Out, a couple of the songs there were older, a couple came quicker leading up to the session,” she says. “But [this time], since we had done it already, and we had the experience of recording before, we had a bit of a fire under our asses. And the excitement was there as well.”

Van Dam notes that after assembling in the recording studio this time around, everything seemed to flow better for the band.

“I wasn't as freaked out or scared,” she says. “For me, at least, it gets super overwhelming in the beginning. But we'd been through this before, and I knew we could get through it.”

The band left their native California for Colorado to record, as they did for the Fear Of Missing Out sessions, linking up with producers Chris Fogal (The Gamits) and Yotam Ben Horin (Useless ID) once again.

40 NEW NOISE

Pop punk four-piece The Bombpops started in San Diego, are based in Los Angeles, and are signed to Fat Wreck Chords—the indie punk rock stalwart label that practically defined California pop punk music from the ’90s and beyond.

For a band weaned on Blink-182–hometown heroes to The Bombpops—and a slew of Fat Wreck bands, the marriage seems ideal.

“With Chris Fogal and his family The result is a remarkably cohesive there, they're like family to us, you album, one that doesn’t lose any know?� van Dam says. “When we of The Bombpops’ fun pop punk were there recording the first time, sound, but has a cautionary tale they were talking about having about life in its lyrics. kids, and this time around they had two babies. It’s like home “It is darker,� says van Dam. “We’re there. That comfort that we felt portraying that love, but also the dark side of Los Angeles. And I was there is so important.� also going through a bit of a thing It was within that family atmo- at the time. Looking back at all the sphere that the band felt secure songs, it totally makes sense. I was enough to tweak the music they’d drinking too much, and being despend the last year working on. pressed, and dealing with anxiety.

It's a trip listening to that. It's real, “I think that any human being has and it definitely has this theme. those moments, especially as an You can feel this uneasiness.� artist,� says van Dam. “Where you think you're married to your song, In one of those songs, “Double Arand you’re a little unsure about rows Down,� van Dam describes livtaking suggestions. It's so hum- ing with Type 1 diabetes, a struggle bling, but it's not like you're com- she has dealt with since being dipletely changing the songs, it's just agnosed at the age of 16. In particadding that sparkle, the arrange- ular, she talks about a seizure she ment that it needed. At the end had on tour in the fall of 2018, an of the day, it's our choice wheth- incident that could have killed her. er or not we want to make those changes. In the end, everyone just “Before now, I've never written a cares so much, so we're throwing song about being diabetic and out ideas, but it can get to be a lot what that entails,� she says. “Diabewhen there's six people in a room tes is something that I have to deal with every fucking day. It's someand everyone has their opinion.�

thing that's always on my mind. I never feel one hundred percent. I think sharing these types of things ultimately brings people together.

They can relate.�

Surprisingly, Jen Razavi, who co-founded The Bombpops with van Dam, came up with equally dark lyrical material for her songs, despite never discussing the content with her partner in crime.

Both chalk it up to coincidence.

That, and the fact that Razavi had been re-watching movies by David Lynch that frame L.A. in an ominous light. “Jen and I are so close, and we go through a lot of the same stuff,â€? van Dam says. “I don't want to speak for her, but I struggle with anxiety, and this is the way I channel it. And Jen is channeling these movies in a lot of her lyrics, which I think is really cool. We both love Los Angeles and we love where we are, and I think we're in the same vibe. We're best friends and we spend a lot of time together.â€? đ&#x;’Łđ&#x;’Łđ&#x;’Ł

“A lot of people just assume I had an older brother who introduced me to punk rock,� says Jen Razavi, singer, guitarist, and co-founder of the Bombpops. “And I do have an older brother, but he listened to bands like Tool and Nine Inch Nails. So, I kind of had to figure it out on my own.�

In 1997, Razavi’s main source of music came from listening to the radio, and at one point, she asked a friend why she liked bands like Green Day and Blink 182 and not the standard Top 40 pop music fare. “And [that friend] said, ‘Well, you like punk.’ And I thought that was the coolest thing ever, saying ‘I like punk!’ But I do remember going to school and telling someone that, and they definitely corrected me and said, ‘You like pop punk,�

Razavi says.

When she eventually met up with a 14-yearold Poli van Dam at a shared live music space, they started hanging out. At the time, van Dam was also a Blink 182 fan—a shared punk rock gateway drug. But the older Razavi would go on to introduce her new friend to a slew of other California punk bands. “Jen introduced me to a whole lot of new music.

All the Fat Wreck Chords bands,� says van Dam. “I remember driving around in a car with her listening to Millencolin for the first time. My dad would play bands like The Ramones and Violent Femmes for me, but Jen introduced me to bands like No Use For A Name and NOFX.�

NEW NOISE 41

THE PROGENITORS OF BLACKWAVE RETURN

INTERVIEW WITH GUITARIST NOBUKATA KAWAI AND VOCALIST TETSUYA FUKAGAWA

BY BEN SAILER

2

016 was a difficult year for Envy. After longtime vocalist Tetsuya Fukagawa left the band, fans began to wonder whether the remaining members would continue. While they pressed on undeterred as a four-piece, with guitarist Nobukata Kawai taking over vocal duties, it wasn’t long before drummer Dairoku Seki and guitarist Masahiro Tobita departed as well. After nearly 25 years with the same lineup, it looked like the influential Tokyo-based screamo band would almost certainly have to call it a day. With more than half the original members gone, what path forward could exist?

Finding the answer to that question started with a night at the bar, bringing the band back from the brink of breaking up.

“I called Naka [Manabu Nakagawa, bass] for a drink,� says Kawai. “It was the first time for me to call him out since we formed the band. At that time, I told Naka, ‘it might be

42 NEW NOISE

the time to end the whole thing,’ and he replied, ‘leave if you wish, I will keep Envy continuing.’ If I didn't hear those words, I think Envy would be dead for good.�

dence, either. The band’s sprawling compositional structures continue to borrow from post-rock and hardcore in equal measure, without succumbing to common clichÊs of either genre. Arguably, the way the band stitches together diverse aural textures into moving soundscapes is perhaps better defined by the intensity of emotion they invoke, rather than traditional labels.

band allowed for fresh ideas to seep into their sound as well, and an explicit delineation in each member’s role in the songwriting process led to the record being written “literally three times faster than before.�

Anyone who was holding their breath can thank that fortuitous conversation when they hear The result of this democratic apThe Fallen Crimson, the band’s proach to songwriting is a record seemingly miraculous seventh that sounds undeniably like Envy, full-length record, out now via yet manages to avoid the sense Temporary Residence. It follows of stagnation one might expect their 2018 EP, Alnair in August, “The word ‘genre’ does not mean to set in after seven albums (plus which coincided with the surprise anything to us,� Kawai says. “Rath- countless splits and EPs). Rather announcement they'd be reunit- er, it is clean tone, high-gain tone, than relying on muscle memory, ing with Fukagawa, and adding blast beat, D-beat, ambient, hard- there’s an intentional desire here guitarist Yoshimitsu Taki and core - as long as it is good and has to avoid being viewed as a “legacy drummer Hiroki Watanabe. If the passion, we want to express it. All band,� paired with a commitment two tracks on the EP were teasers, we wanted to do is to write a damn to continuing to progress musicalthen it’s safe to say that Envy is beautiful album.� ly. While that undying drive may back in full form with the release be what pushed the band forward of this album.

To that end, the band’s songwrit- through turmoil, there’s at least ing process has remained consis- one other constant essential to the From start to finish, The Fallen tent since their formation in the band’s creative persistence, too.

Crimson feels imbued with a re- early ’90s. Kawai brings a riff or an newed sense of purpose and en- idea to the band, each member “As long as Tetsu sings on our songs, ergy. Given the amount of turmoil contributes their parts, and pieces it will always be Envy, and I believe they’ve overcome to reach this are aligned and realigned from that can't change,â€? Kawai says. đ&#x;’Ł point, that may not be a coinci- there. Bringing new blood into the

20TH ANNIVERSARY

INTERVIEW WITH FOUNDERS JACOB BANNON AND TRE MCCARTHY BY MARIKA ZORZI

“

T

here’s no real Deathwish sound, there’s really no Deathwish visual aesthetic,� says Jacob Bannon. “It’s bands that have their own, unique individuality and character, and we do our best to empower them.�

When Bannon (Converge, Wear Your Wounds) conceived of starting his own label with Tre McCarthy in the year 2000, their only mission was to support underground music.

In 2020, having released and distributed over 600 titles, Deathwish Inc. celebrate their 20th anniversary in the suburbs of Massachusetts, where everything began. “When we started Deathwish, New England overall was in a really good place,� Bannon remembers. “You had a lot of bands in a variety of styles. You had the more straightforward, hardcore world; you had the more metallic hardcore world; you had our weird, punk-metal-hardcore-hybrid. You had bands like American Nightmare starting to take off. Converge, we were obviously doing our thing. Shadows Fall and Killswitch Engage were starting up. There was a lot of cool stuff happening at that time.�

“I remember thinking that would be the coolest thing because at the time I was working at a furniture store, and I was trying to become a junior designer at any place that would have me. And I was like, ‘Wouldn’t it be cool if I could just do my own thing, make enough that I can pay the bills, and everybody could be happy and live normal lives?’ And that was the goal. And that’s what we built. We’re not trying to be a monster conglomerate.

We’re just trying to do good work,� he says.

PHOTOGRAPHY BY CALEB GOWETT

The label has overcome many difficult moments over the years, but it has always carried forward the desire to support underground music. “We’ve survived,� McCarthy admits. “We’ve always had to fight tooth and nail to do what we are doing, and it’s always felt like an uphill battle. We came up in the fall of the CD, and we survived. We had a distributor go out of business and steal tens of thousands of dollars from us, and we survived. We’ve just figured out how to change and adapt to all that’s going on and struggled and persevered.�

“The mission has always been release tered all over it; we just want to get “I always have advice for anyone “Boston has always had a strong good music; treat artists fairly,â€? Ban- the records out there. We do stores who wants to start a label,â€? Bannon backbone of labels and bands, and non says. “We’ve just been trying to for other bands; I do a lot of print adds. “Just put out music that you the time of our inception was no build a good, ethical world. Trying work for other visual artists through believe in and that you love. Everyexception,â€? McCarthy adds. “The not to get bogged down in a lot of Deathwish. It doesn’t have to be like thing else is secondary. Be smart big ones at the time being Bridge 9, things that bog other labels down. ‘Jacob Bannon Presents.’ It’s just, sell about how you spend. Ego gets in Hydra Head, and Big Wheel Recre- We try to treat people fairly and as your art, and I’ll take care of it for the way of everything. So, try to ation. This is also around the Jane individuals. You just make a good you.â€? be ego-less and try to just put out Doe era for Converge,;American and healthy environment, make evgood-quality records. Try to comNightmare and Hope Con were at erybody happy.â€? “I went to art school, and I was al- municate clearly. Every band is diffull strength, Cave In and Piebald ready putting out Converge records ferent. Every person is different. No too. There was also the huge, more “Honestly, all I’ve ever really wanted by then, but that wasn’t really what one is going take a conversation the punk side of things happening with to do is help awesome people do I was concerned with,â€? Bannon con- same way, so you can’t approach bands like The Trouble. Boston has awesome things,â€? McCarthy says. tinues. “What dreamed of was hav- every band the same way. You don’t always been an awesome place for ing a place that I could go to work approach every relationship in your hardcore.â€? “One thing that’s different about us is every day where I could make art, life the same. It’s the same deal. You that we don’t care about ego,â€? Ban- make music, I could have like-mind- learn the best ways to communiSince the beginning, Bannon and non adds. “So, we help out bands ed people there and have it be a cate with people, treat them with McCarthy have always had a clear and labels all the time, and we healthy environment. That’s what I respect, and that’s it.â€? đ&#x;’Ł đ&#x;’Ł đ&#x;’Ł idea of how ​​ Deathwish should be run. don’t have to have our logo plas- envisioned.â€?

44 NEW NOISE

AFTER 20 YEARS IN THE GAME, FOUR YEAÃ…R STRONG ARE TAKING A NEW APPROACH TO ALL THAT DEFINED THEM IN THE PAST AND CARVING A NEW PATH TO CREATING MUSIC.

NEW NOISE

45

INTERVIEW WITH SINGERS / GUITARISTS ALAN DAY AND DAN O’ CONNOR

BY JAMES ALVAREZ our Year Strong have been going strong for damn near 20 years now. Since the early days of the new millennium, the band have triumphantly blurred the line between infectious pop punk and pummeling hardcore and metal. After two decades in the game, these easycore pioneers have successfully led two generations of stage-diving rockers to the promised land.

py chorus, and then all of a sud- our original music was its authenden go into this heavy breakdown ticity,� he continues. “We wrote muthat sounds like this completely sic that we were passionate about, different band. One of the ways and because we kind of started we did that on this new album was this sound, people then expected like, ‘Let’s make the guitar sound that from us from then on. It beso over-the-top heavy all the time, came less inspiring for us because even on the poppier stuff.� we felt like we had to be doing it, not because we wanted to be doMission accomplished. The gui- ing it. Our goal this time around tar sound on Brain Pain is not only was the authenticity factor.� massively heavy, but it lays the foundation for Four Year Strong Indeed, Brain Pain sounds like a 2.0’s new approach to music. Us- group of veteran musicians finally Like most long-running acts, ing a pummeling wall of guitars incorporating everything they’ve however, the fellas in Four Year and mechanized rhythm section learned over their careers—while Strong found themselves at a dire attack as cover, the band have staying true to their roots—and crossroads recently: embrace the broken free from the confines of it’s kind of awesome. Four Year perils associated with exploring their ‘easycore’ identity, incorpo- Strong were eager to explore this new sounds, or play it safe with rating new musical influences and musical and personal progression. their tried-and-true recipe for mature lyrical themes into their It’s something Day and O’ Connor success and risk stagnation. That repertoire. Basically, Brain Pain is felt as individuals, as a band, and brings us to the band’s newest al- the sound of a band reborn. even among their fan base. bum, Brain Pain, out on February 28, 2020 on Pure Noise Records. “We wanted to make sure we took “There’s two sets of fans,� Day This might technically be the sev- as much time as we wanted,� explains. “The new, younger enth full-length of the band’s ca- O’Connor reveals. “We’ve always audience that might just be disreer, but, in many ways, Brain Pain had to make some kind of sac- covering us, and the old fans is like a second debut of sorts. rifice or compromise in the cre- that have been around and Ladies and gentlemen, meet the ative process. This time around, supported us through the years. we really wanted to make sure That’s part of the theme of this new Four Year Strong. we gave ourselves enough time record. There’s this split between “You spend the first part of your to do exactly what we wanted, who we were and who we are. I career trying to define yourself,� with no compromise. Because live on a farm with my wife, so singer and guitarist Dan O’ Connor we had so much time to write, we I’m at home doing that kind of explains. “And then you spend the really dove into these songs in thing, but out on the road, it’s second half of your career trying the demo process, more than we completely different. It’s kind of to break out of what you defined ever have before.� about finding who you’re supyourself as.� posed to be. What people expect Freedom from the shackles of a of you versus what you want.�

Fellow singer and guitarist Alan ticking clock led Four Year Strong Day echoes this sentiment. “We to step outside their musical com- “There’s me at home,â€? O’Connor took steps outside of the box we’re fort zone as well. shares. “Putting my kids to bed, used to being in and what people taking the trash out, and being are used to hearing from us,â€? he “It was a challenge, but it actually ‘at home guy.’ Then there’s me on says. “The biggest challenge of all ended up being a lot of fun,â€? Day tour, screaming ‘fuck’ as loud was trying to do that in a way that elaborates. “And the outcome as I can into a microphone, at a ended up being our favorite piece room full of kids who are jumping our fans would get behind.â€? of work to date. As much as peo- off things. There’s a large specBrain Pain is a booming rock re- ple probably think we want to be trum in-between those two bookcord featuring the most intricately the pop punk band we were in ends, and I feel like this record written songs and dynamic-sound- 2007, when people first started to is trying to figure out ‘where on ing tracks of the band’s career. The discover us, we’re entirely differ- that spectrum do I land’? I think heavy and poppy elements of the ent people at this point in our lives, one of the things that we landed band’s famous, easycore sound with entirely broadened musical on is that everyone goes through are still present; they’ve just been influences.â€? that multiple times in their life. shaken up and rearranged in bold You’re constantly trying to figure “I always liked to think that part of out who you are.â€? đ&#x;’Łđ&#x;’Łđ&#x;’Ł new ways. why people gravitated towards “Our band has always been this hybrid of poppy, major fun kind YOU SPEND THE FIRST PART OF YOUR of vibe, but in a heavy way,â€? says Day. “Our goal was to always do CAREER TRYING TO DEFINE YOURSELF‌ that in the least schizophrenic way. AND THEN YOU SPEND THE SECOND HALF We don’t want it to feel like we’re playing this pop punk, really hap- OF YOUR CAREER TRYING TO BREAK OUT

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46 NEW NOISE

OF WHAT YOU DEFINED YOURSELF AS.

TWO MORE BANDS BLURRING THE LINES AND EDGES OF HARDCORE

DUNE RATS INTERVIEW WITH BASSIST AND SONGWRITER BRETT JANSCH BY J POET

D

une Rats, from Brisbane, Austra- approach to songwriting and recording. There are four songs on Hurry Up And Wait that are from that trip to the States.� lia, play hardcore music for peo- They started working on Hurry Up And Wait ple intent on living a freewheeling, at a farmhouse in a rural part of Victoria, “We took our time getting a big bank of Australia. hedonistic lifestyle. The blistering music songs down, so we could choose which keeps things moving at a frenetic pace, ones would be sick to follow up Bullshit with the rhythm section, composed of “We made a wall of beer cartons that was like 5 x 8, some dude in a muscle car drummer BC Michaels and bass player rocked up in the driveway and gave us Brett Jansch, kicking Danny Beus’ lead free chron, and we were hitting up this guitar work into overdrive. Lyrically, the truck stop joint for these pyscho greasy songs on their new album, Hurry Up And wing-dings. It was a good month,� says Wait, out now on Rise Records, present an Australian trio of ne’er-do-wells so intent Jansch. on drinking, smoking weed, and partying, They moved on to sessions in L.A. with that they have little time for much else. producer John Feldman (Goldfinger, Blink “Nothing wrong with having a good time,� 182), then back to Melbourne’s Grove Studios with their pal James Tidswell says Jansch. “We try to always keep that (Violent Soho) and producer Miro Mackie. going, but inside a lot of our songs, there’s serious ideas. Stuff that’s super important to us, our friends, and the people around “Tidswell played a great role on this one, getting us to come back to an organic us that influence our lives and actions. It’s kind of production, not leaning too hard all serious, real-world kinda shit, but then on computers to stylize what we had I can pysch out on a song about a talking created,� says Jansch. “Recording at The bong.�

Grove was maxed-out. The record was consistently churning along, even if we The band’s last album, The Kids Will were all at the barbeque or out in the Know It’s Bullshit, hit number one on the back having a few. Going to L.A. was more Australian charts shortly after its release of a full mad-out. We got to make some in 2017. That made them international tunes we are psyched on with epic people. stars, but it didn’t alter their basic

ORTHODOX INTERVIEW WITH VOCALIST ADAM EASTERLING BY J POET

T

out against an assailant who hurt a loved one. fierce,Tennessee-basedbandOrthodox sound cathartically direct on their new album Let It Take Its Course, released on “I guess I would want it to catch on that you can’t have love without hatred there to February 7 via Unbeaten Records. The band pack plenty of the ferocious, physically devas- compare it to,� he shares. “There are bad things that are done with good intentions. tating riff-attacks that those familiar with their Outside of the overall concept that is background in hardcore may latch onto. But here, Orthodox also dive into grimly solemn-feel- written about, there was a lot of the idea of, you don’t realize how dark that you can ing dynamic swings like they’ve personalized the become until something causes it in you. I devastation, and it’s got a sinister face. Vocalist don’t think it’s ever really a choice. I think Adam Easterling’s piercing, nu-metal-esque it’s just something that’s planted and grows.� range highlights these dynamics perfectly.

with,â€? he continues. “We’d try and get at least a song a day down, but I reckon the ones we get stoked on are the songs that happen quickly, or stem from something silly we’re riffin’ around on. Every time we record, we all go in the room together and, if something lucky happens, we keep it in there. We also do tracks with everything layered. I think by doing that, it gives you a chance to tweak what you put down, like trying different vocal harmonies, or playing the notes on different guitars, just to try and make it sound the best.â€? đ&#x;’Ł đ&#x;’Ł đ&#x;’Ł PHOTOGRAPHY BY KYLE BERGFORS

“They still show up; they still wear the t-shirts; they still support us—and that to me means almost more than them liking the new record and singing along,� Easterling shares.

Ultimately, Orthodox feel committed to the grind and the soul at the core of it. “We never learned lessons from advice,� Easterling jokes. “It was always, 'Let’s fuck this up, and then we’ll figure out what to do next time.’�

on. Easterling explains that the uniquely poignant, shared experiences provided for by the new album add to the community around hardcore music, which the band have been touring in since 2013. The band “We never learned lessons from advice,â€? still get a reception from friends in the hard- Easterling jokes. “It was always, let’s fuck core community around the U.S., regardless this up, and then we’ll figure out what to do of the steps that they’ve taken away from next time.â€? đ&#x;’Ł đ&#x;’Ł đ&#x;’Ł the musical style’s strictest confines.

PHOTOGRAPHY BY KYLE BERGFORS

Easterling and Orthodox tied these obser“There’s a lot of songs where it’s like, here’s this vations together with the freedom provided riff that kicks ass; here’s another one; here’s another one—are you still keeping up?� Easter- by looking for the right emotional tone, no matter the genre conventions. ling explains. “But, we do have songs that have that verse-chorus-verse structure. That was a lot more fun for me to write... when we were “One of my main goals vocally with this album was that I didn’t want to yell a part unless there able to find a way to use elements of all ends of was no other way to deliver it,� he explains. “I the heavy music that we are inspired from and would sit and think of as many different types make them fit without it sounding forced.� of vocal delivery as I could that would work.

And I was like, if there’s nothing that would Easterling names inspirations like nu metal greats like Korn and System of a Down, fit here outside of yelling, then that’s where we’ll yell, right there. But I didn’t want it to be alongside other bands like Deftones and Lamb of God. The band’s nod to nu metal, another album that was centered around just aggression. I wanted there to be a genuine via their combination of straightforward build in every aspect of the music.� intensity with swinging dynamics, provides a perfectly complementary entry point for the That build shines through powerfully, and poignant emotion at the core of this album.

Easterling explains that the lyrical perspec- Orthodox’s dramatically intense music lets listeners confront these dark areas headtive features a struggle with wanting to lash

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47

SILVERSTIEN

PHOTOGRAPHY BY ALYSSA BYCHOLSKI

INTERVIEW WITH VOCALIST SHANE TOLD BY NICHOLAS SENIOR

U

nexpectedly, the story of Silverstein is a numbers game.

Your winning numbers today are 4, 5, 9, 20, and infinity.

The Burlington, Ontario-based act have been alive and kicking for twenty years, but you wouldn’t know that from the strength and bold artistic vision showcased on their ninth record, A Beautiful Place to Drown, out March 6th via UNFD.

The soul of the band still is there, but there are definitely some outliers, like “All On Me,� as Told acknowledges. “We’ve always been a guitar-driven band; we’ve always been a heavy band, when you boil it all down. When you take a song like that that’s written and recorded using synths and keyboards, with guitars and drums just there for texture, that changes the whole essence of what our band has always been.�

to realize how much you’ve been writing and thinking inside the box, and you start to realize you can get this really organic sound, it's like almost real and that's cool and you go and play it and add distortion or layers – you start to wonder what is this? And now you're dealing with numerous different levels of textures to where you do you have just an infinite number – pardon the pun – of tones and textures that you can play with.�

you don’t want them to sound like a different band entirely. I think we took a good opportunity here to try some different things and with the climate of music these days and how people are consuming it. Plus, there’s a lack of rules in terms of what bands are allowed to do with the genre now and have fans stay with them; it seems like it just made a lot of sense to make the record we made.�

Vocalist Shane Told has been on record admitting that Silverstein’s These shifts aren’t limited to the old records are some of the band’s â€?At the same time,â€? he continues, “All of a sudden,â€? he shares, “you noise. There’s a total change in biggest musical influences to this “that’s one track in the middle of the just open your mind up to the pos- perspective lyrically that translates day, not from the standpoint that record. There’s also an emotional sibilities because you changed to a really powerful listening expethey have to write new versions of side of that song. When that song your own rules. Then you start to rience. This record is more empathose old records, but from the was put together, we could have wonder why do we have any rules thetic in thinking of others and how view that it’s best to continue to re- taken those soaring keyboards and ever? Why do we have to operate the world is affecting them rather capture that love of music that was turned them into electric guitars to with all these parameters that have than how situations in the world there all those years ago. A Beauti- make it sound like American Foot- been limiting to us and stifled our are affecting you. ful Place to Drown not only embod- ball or something, but it didn’t feel creativity? Once we got past that, ies the best parts of Silverstein; it honest to do it that way. That song and once we realized that “All On “That's absolutely intentional,â€? Told applies a new and colorful filter to will definitely turn some heads, but Meâ€? was going to go on the record, admits. “Paul Marc was really the showcase that they’re better, brav- those are the kinds of chances we we could do other things and push driving force on this record, but er songwriters now. wanted to take.â€? ourselves. It was fun writing songs we spoke a lot about that, and we that are pretty classic Silverstein, spoke a lot about very few songs “I think inevitably people are al- There isn’t a number that came like “Stop,â€? but with a newer mind- really, are about me or attacking ways going to look back to the into play with the sound of the re- set than the one we had been stuck you. Yeah, a lot of it is more talking first couple of records we made cord, except it’s how Silverstein on since we started in the 90s.â€? about your own fault in the record, as some kind of litmus test. That’s have reformulated how they write and I think that that's a pretty big where we started and what we’re songs using a bit of math. It’s a That liberation has to come with change We have a thing up here in known for, and we’ve embraced funky, fresh addition of rhythmic maybe sort of just repositioning. Canada called #BellLetsTalk, and I that era of our band, too – do- bounce that started when guitar- It's interesting to do the math and don't know how much it gets down ing album tours, like we’re about ist Paul Marc Rousseau came on think your fourth record as a band to the States. Bell Canada donates to do. Those albums are still near in 2012, as Told shares. “Yeah, with to me was the first one where Sil- money every time someone uses and dear to our hearts, but now- regard to the rhythmic thing, when verstein really took creative chanc- the hashtag. It got to a million adays when we're trying to push Paul Marc joined the band, the first es sonically and thematically, with dollars this year, and it's all about forward and make new music, I record he did was This Is How The the metallic concept record A mental health awareness and rethink we do draw inspiration from Wind Shifts, and the difference he Shipwreck in the Sand. It also had moving the stigma associated with those old records and it's just nat- made... the first song he played awesome guest features that took it.â€? ural to do that, but at the same was “Stand Amid the Roar,â€? and things to new territories. So this is time we're never going to be able he played that initial super rhyth- the fourth record with Paul Marc, “There's definitely that part of this to top those records if we were mic riff, and we loved it right away. and the album includes wonderful record,â€? he continues, “that is trying to make another Discover- That was an element we didn’t uti- features in a little bit of a twist on touching on that relating to people ing the Waterfront verbatim.â€? lize that much – we were more of the sound, as well as a more pro- dealing with those issues, like oura melody-driven band. He’s just nounced sonic shift. selves. Being empathetic to that is “If we had a computer analyze that expanded on that in every record extremely important, I think for evrecord,â€? he adds, “what would it and really nailed it on this record. “That's a really interesting take on erybody, but especially for us bechurn out? If you tried to recre- It’s been a great way to sort of it, for sure,â€? Told posits. “That's kind ing songwriters and singers in emo ate it, you never would be able to. spice things up for us. When you of a cool narrative. I don't think it's band, that's kind of like the number So I think with A Beautiful Place to take a great melody and add a obviously that simple.â€? one thing we should be focusing on Drown, it’s our ninth full-length super interesting rhythm behind it, – for people being able to relate record, and our biggest change that can take things over the top.â€? “The first three records were done and knowing that we’re all in this from one record to another. When pretty much exactly the same way,â€? together.â€? you go from When Broken is Easily Told wasn’t kidding about the son- he continues, “and the third record Fixed to Dead Reflections, you can ic shift – there are ideas on the we didn't have a lot of success. Ar- It can’t be an emo album if there see there’s a difference there, but record that absolutely work in the rivals and Departures was my least isn’t a little bit of woe is me, right? the jump between each record context of what Silverstein do well favorite one we’ve ever done, so Yet, A Beautiful Place to Drown feels isn’t very big. With this one, this is – but it’s absolutely stuffed with in- we had to do something different- like the least emo version of Silverthe biggest jump in terms of sound, teresting little experiments. “I think ly. I think that that ideology is good stein we’ve heard, and it’s definiteproduction, some of the things we put a lot of rules on ourselves to keep that in mind, and I think ly the most unique. Thankfully, for we tried. Just look at our first sin- early on,â€? Told acknowledges. “I it's good because every chance, long-time fans of the band, it’s also gle, “Infinite.â€? That song has a lot of don't really know why. They were we've ever taken as the band, it's their most powerful statement yet. things in it that we wouldn’t have kind of self-imposed rules based worked out for us. Yeah, so we've đ&#x;’Łđ&#x;’Łđ&#x;’Ł tried a couple of albums ago and on being a punk band. For exam- been conservative a lot of times wouldn’t have even thought were ple, the idea to use non-real instru- in our decisions, and I think that possible when we were doing the ments, like a synth, it never seemed a lot of our fans appreciate that first few records.â€? like that was okay. You just start because if you’re fan of a band,

NEW NOISE 49

INSATIABLE CREATIVE HUNGER

INTERVIEW WITH BASSIST VINCENT PRICE BY JOHN SILVA

O

n the cover of Body There are dead bodies in the streets.

Count’s seventh studio Cars wrecked. Chaos consumes an album, Carnivore (out apocalyptic depiction of Los Angeles.

March 6, 2020 via Century Media Records), is a flesh-eating “The word ‘carnivore,’ it can be [inmonster staring at you like he’s ready terpreted] a lot of different ways,” to devour you raw. With a pistol in says bassist Vincent Price. “It can be one hand and brass knuckles in the [eating] meat. Or, it can be, you’re other, the image of the creature is the king of your own domain, so to jolting. And yet, as abrasive as the speak. You take over whatever you album cover is, something far more put your hands on.” sinister lurks beneath the surface.

When zooming in on the illustration, a The image of the monster on the closer look reveals that the monster is album cover is sprawling, as if made up of many tiny images—and it he’s taking over whatever he isn’t a pretty picture. A city is on fire. wants to consume. The same way

50 NEW NOISE

violence, racism, and inequality can take over a city, eating up everything in their path. Price explains that the album cover is inspired by a song on the record called “Colors - 2020.”

“If you look at that [artwork] and you listen to the song ‘Colors,’ that’s it right there. In the song, it’s about gang violence and taking over things. And, if you look at that art work, you see that’s exactly what it’s doing. It’s taking over everything.

It’s taking over the city; it’s taking over people. It’s very strong.”

The artwork is a great analogy for the album as a whole. The surface-level image is aggressive, but the images viewers see when they zoom in are much darker. In the same way, on first listen, Carnivore sounds like a lot of other hardcore records. It’s aggressive, angry, and carries the same macho, tough-guy attitude that is often associated with the genre. But, a closer look at the lyrics reveals a deeper ugliness, one that is infecting the entire country right now, as it has been for centuries. From the aforementioned song “Colors - 2020,” which ad-

dresses gang violence, to “Point the “If you go to the old Ice-T catalog, he’s music, some of the songs on CarFinger,� a song about police shoot- been telling people about this stuff nivore refer to close-knit commuings of unarmed black boys and since day one,� Price says. “I don’t nities. But this is more than just anyoung men, to “The Hate Is Real,� think anybody is really doing any- other hardcore clique or straight which addresses racism, xenopho- thing to change it. I think everybody edge crew; this is about people bia, and the normalization of hate, is just taking it and accepting it. And coming together to finally do the theme is prevalent throughout. basically, Body Count is just there to something about the social injusremind them of what’s going on.� tice that devours our world like a Price notes that it’s not the first flesh-eating beast. time the band has directed their In a sense, Body Count view themartistic attention towards these selves as messengers broadcasting “We all pretty much traveled in themes. In fact, even pre-dating the ugliest parts of their city and packs; we never really traveled sinBody Count’s work, front-man country loud enough that people gle,� Price says. “And yeah, that’s Ice-T was addressing these sub- have to listen and pay attention. basically what it’s all about, just jects in the early days of his rap everybody coming together and career.

True to the culture of hardcore doing something about it, finally.

We’re hoping that one of these days, everybody’s gonna come together and do something about it.�

Perhaps the socio-political messages throughout Carnivore will inspire people to organize for change.

At the very least, Body Count’s work is important because it uses art to make listeners more aware of the injustices we often choose to ignore.

Perhaps Carnivore is a good representation of what the world looks like right now. Aggressive on the surface, ugly underneath. Like a monster. đ&#x;’Ł đ&#x;’Ł đ&#x;’Ł

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51

PHOTOGRAPHY BY SUREN KARAPETYAN

“IF YOU GIVE ME THE OPTION OF LISTENING TO BATHORY OR READING A BOOK, I’M LISTENING TO BATHORY EVERY TIME.”

MIDNIGHT INTERVIEW WITH PROJECT MASTERMIND JAMIE WALTERS

BY CHRISTOPHER J. HARRINGTON

52 NEW NOISE

n a press release by Metal Blade for Midnight’s January-released album, Rebirth

By Blasphemy, Jamie Walters, aka Athenar, spoke of his life-long relationship with the label.

seem to be going anywhere, ing to Bathory every time.� and the same with me; I’ve been wandering around since Rebirth By Blasphemy contains 1973 and don't plan on leaving songs of endurance and guts. anytime soon.�

Take “Escape The Grave,� a speed metal behemoth about And so, Midnight’s raw and fighting against the inevitable, “Well, I sent a demo tape of my punishing rock ’n’ roll is a re- living with passion and force. band to Metal Blade Records flection of a belief in one’s Or the cryptic “Rising Scum,� a back in 1987. It only took self, of one’s mission, of one’s protest anthem against obstathem 32 years to respond, purpose in life. It is existen- cles in life, alive or dead. Every and guess what? They want to tial and materialism refined. song on the album is spirited release a record? Patience is Pure expression. Complete with longevity, a homage to a virtue.� dedication. the sacrifice of rock.

I

accuracy that Walters wades in. This is a punk record with technical refinement.

It’s raw as hell, but crafted like a basket made of angel’s hair.

Perhaps that’s the difference between the album and its era of inspiration. It has a timeless spirit, but a contemporary edge.

Hovering between simultaneous worlds, it is genre-less. “It’s rock,� Walters explains. “I mean, things became punk so much later on because metal became too much. You go back to metal in 1979, and if that was around today, people would say it was punk.�

“A lot of sacrifice, that’s for sure,�

Walters says. “I’ve given up a lot of normal people One thing’s for sure: it is life type of things.â€? absolute. The blood, sweat and tears, a story as real as In classic Mid- thunder in the mountains. It is night fashion, Midnight. It is Athenar. It is Jathe record goes mie Walters. by so fast you’re left in a dust of “I’m not bright enough to bones, smoking make up a fantasy novel,â€? the night of red Walters laughs. “So, the stuff visions and dark that is there, it’s what I got; I light. Its presen- have no other legacy in life; tation is a rep- that’s what it is. If you look me resentation of its up in the past as a kid, I don't method. Walters exist.â€? đ&#x;’Łđ&#x;’Łđ&#x;’Ł works fast. The record took a few weeks to record, and Metal Blade picked it up shortly thereafter.

Now that’s what you call commitment. “If anything, it speaks to the long-term existence of the record label and myself,� Walters explains. “They’ve been around since 1982 and don’t

“I mean, how long can you possibly take,�

Walters laughs. “It’s not like it’s a race to do anything, but when I’m ready to record it, I just record it; there’s never a thought of who’s going to release it, or what the format “I’m a pretty boring person,� will be, or how many colors of Walters laughs. “One-dimen- vinyl it will be; I don't care. I’m sional. My only interest in life going to record a record the has been music. I was never way I want to.� really interested in anything else. I mean, if you give me the Repeated listens of Rebirth By option of listening to Bathory Blasphemy will give you the or reading a book, I’m listen- sense of the confidence and

NEW NOISE

53

PHOTOGRAPHY BY ALAN SNODGRASS

54 NEW NOISE

F

INTERVIEW WITH PROJECT MASTERMIND AMALIE BRUUN BY ADDISON HERRON-WHEELER

an favorite Myrkur is specific direction.� releasing a new record, and the metal world Blending contemporary songs waits with bated breath. It’s a with folk can be a challenge, mark of a true power player even for someone like Myrkur that even though this record who uses their influence in all promises to be mainly folk her writing. She was mindful music, Relapse Records stands to make sure the songs still proudly by the release, and flowed like any other album. fans of the iconic musician, vocalist, and producer can’t “The writing style for this record wait to hear it. was really different than past releases, as half the songs Also known by her muggle are traditional folk songs, so I name of Amalie Bruun, Myrkur wanted to be sure to focus all has been making folk-inspired the writing around that,� she music since 2014, and she says. “Picking all these songs hasn’t slowed down, just and performing them live, taken her sound in new, fresh really getting them under my directions.

skin, and then simultaneously writing my own folk songs, was a way to make sure everything fit together. It took a long time because things really had to fit into the universe with the traditional folk songs. That’s what an album is—you open the door to a universe, and then you don’t leave until the last song. No one song should stand out too much.�

The combination of immersing herself in the songs, becoming a new mother, and limiting herself in a positive way with traditional instruments and lyrical themes caused

Myrkur to create something innovative and new, yet still something that advanced her current sound. And although she won’t be hitting the road yet, she already has plans for the future. “Right now, I’m just a mother,â€? she explains. “Ultimately, though, I plan to tour [on] this album, because I just love playing folk music. I love the artistic freedom and genrefree life as a musician, and I hate when I feel confined to one thing. All I know is, I want to continue to do what feels right in the moment.â€? đ&#x;’Ł đ&#x;’Ł đ&#x;’Ł

Her new record, Folkesange, out March 20, 2020, via Relapse, is just what the name implies.

It’s a trip into the heart of Scandanavian folklore, with a modern twist. And as clichĂŠ as that may sound to an outsider, fans of Myrkur already know it’s going to be gold. “I think this was the most natural step I could possibly take from where I was, and also from what my life is at the moment,â€? she reflects. “It's something that's been under construction for a long, long time. And I really was just looking for the right time, the right producer, the right songs, before I could do it. That can take years, especially for something like this with such

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55

MY

DYING BRIDE I

INTERVIEW WITH VOCALIST AARON STAINTHORPE BY MIKE GAWORECKI

f you want to know what a My Dying Bride album is about, according to vocalist Aaron Stainthorpe, just check out the first line.

quit, including prodigal guitarist Calvin Robertshaw and drummer Shaun Taylor-Steels, who tendered his resignation just as recording sessions for the album were about to start.

a similarly revitalized vocal performance on Stainthorpe’s part, which he initially found difficult to muster—so much so that he had moments where he thought he might be washed up and would have to quit the band.

comes as My Dying Bride are poised to, they hope, become bigger than ever. After calling Peaceville Records their home for three decades, The Ghost of Orion is the band’s first album for Nuclear Blast, a considerably more prominent label.

“I always try to make sure the opening line is the one that leads the rest of the way,� he says. “I've But the far more serious adversity always got notes and ideas the band faced was Stainthorpe’s “We decided to up the ante a bit scribbled all over the place, and 5-year-old daughter being and become better songwriters,� “To be honest, we'd reached a level quite often I'll fish into this book diagnosed with cancer shortly Stainthorpe says. “When I went where Peaceville couldn't really of ideas, and I'll find a really killer after the band’s last full-length into the studio, because I'd been take us any further,� Stainthorpe opening line. I'll use that as the foray, 2015’s Feel the Misery, away for so long, I was still in old says. “[It] was fine for a long time, kernel for the rest of the idea to was released. That left founding My Dying Bride mode. But it simply but after a while, we realized we grow around, and then I'll listen to guitarist Andrew Craighan to write wasn't good enough, and that wanted more; we wanted to stretch the music and think ‘Right, we've The Ghost of Orion on his own. was evident on the very first song our wings wider. We're hoping now, got the starting line; where do we when I started singing. It just wasn't even after 30 years of My Dying go from here?’� “I mean, if he had sent me riffs and working, and I couldn't feel the Bride, we can still touch on other people who’ve never heard of us asked for my input, I probably connection.�

Here’s the first line of the band’s would’ve left the band and said, ‘Do before.�

14th album, The Ghost of Orion, you not know what’s going on right “Bear in mind, I hadn’t sung for a few due out March 6 on Nuclear Blast: now in my life?!’� Stainthorpe says. years because of what happened The Ghost of Orion continues the “From my deep silence, they feed “He obviously knew that. We’ve been to my daughter,� he continues. “I roll that My Dying Bride have been the fire / Building a gift from this friends for such a long time.� wasn’t sure how to get back into it. on since 2012’s A Map of All Our broken liar.�

So, with Mark [Mynett, producer] Failures, their highest-charting Stainthorpe’s daughter is now and Andrew’s help, they coached effort to date. Indeed, the band What do these lines portend? blessedly cancer-free, but his me into trying some new ideas, some may have felt the misery quite For one thing, that My Dying travails were not over. Along new vocal styles, different ways of acutely themselves, but they have Bride, who celebrate their 30th with Craighan, he set out to try recording. We could have still got persevered and created one of the anniversary as a band in 2020, something different with the new away with a regular kind of My Dying best records of their considerable are as morose as ever. And for album, packing all the doom and Bride album, but regular’s not good career. đ&#x;’Ł đ&#x;’Ł đ&#x;’Ł good reason. The band overcame gloom of their past material into enough anymore.â€? some serious challenges to record songs that were more vibrant The Ghost of Orion. Two members and accessible. That required Their new approach to songcraft

56 NEW NOISE

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Igorrr I

INTERVIEW WITH PROJECT MASTERMIND GAUTIER SERRE BY CALEB R. NEWTON

gorrr’s invigorating music operates completely outside of traditional genre boundaries. Where else would you hear George Fisher of Cannibal Corpse-fame delivering his signature, monstrous growls over antsy, 8-bit electronic music?

pretending to be anything else than what the music says,� Serre explains. “The music and this album particularly represent the complexity of a human brain by showing all those states of mind, sometimes at different times, sometimes together at the same time—like with life, sometimes you may get confused, having mixed feelings. Everything is not always black or always white. Things are sometimes a bit mixed up.�

includes Serre’s “personal musical do that, during the lunch break, heroâ€? George Fisher featuring I went back to the studio, alone, on “Parpaingâ€? and contributions and I just sat at a piano to play across the album from violinist anything that came to my fingers Timba Harris (who has performed without any conscious thinking.â€? with Mr. Bungle, among others), pianist Matt Lebofsky, accordion That’s when the melody that player Pierre Mussi, and many Bardiaux eventually performed on more. Some of these collaborative “Hollow Treeâ€? came to him. sessions sparked whole, new tracks for the album, Serre explains. For “I feel very glad that we succeeded example, the track “Hollow Treeâ€? doing this record,â€? Serre shares. grew from a melody that Serre “It’s every time a real challenge–I stumbled across while playing the really mean it; it takes 100 percent piano to unwind from strenuously of my life doing such a thing, and, careful recording sessions with to be honest, I’m happy to be still harpsichordist Benjamin Bardiaux. alive now with this piece of music in my hands. This time, again, I “I choose to record on an ancient was going through a long and Neapolitan harpsichord, a very hard journey that was completely small one with an impressive sound unknown to me, not being sure definition and quality. The slightest where it may lead or if it would be sound of breath or movement of good or not. I didn’t even know if feet was destroying the recording,â€? I will be able to finish it, but I kept Serre explains. “It is like spending going instinctively, like in the fog.â€? five hours watching every one of your breaths and movement, Eventually, he succeeded, adding: and being one hundred percent “Now that the music is finished, I feel focused. This whole process went happy, proud, and I feel that I have something extremely valuable in down twice a day.â€? my hands.â€? đ&#x;’Ł đ&#x;’Ł đ&#x;’Ł Yet, that’s not where he stopped.

The France-based band’s new album Spirituality And Distortion is available on March 27 via Metal Blade Records and also includes contributions from a 1950s, Syrian version of an instrument That’s where the completely known as an Oud, a Neapolitan unbridled sonic adventurism on harpsichord, a violin, and another the album comes in.

Middle Eastern instrument called a Kanoun. Intense metal “Spirituality And Distortion is a and electronic beats also make journey through many feelings,� bombastic, attention-grabbing Serre notes. “Coming from deep, appearances, many of which and honestly strong, human get topped-off with dramatic, emotional power, sometimes even operatic vocals from collaborator an introspective psychological Laure Le Prunenec. feeling, contrasted with groovy, stupid, hangbangable, and funny Project leader Gautier Serre explains parts. It also passes through that he used the development of this delicate and refined baroque new album as a chance to freely parts and vintage French musette dive into the complexity of the heavy, waltz mixed with death metal.� mental states that we walk around with, himself included.

Serre assembled a large cast of musicians for his latest venture, “This album represents a state of which he feels is especially “I had to let go of my mind a bit and mind without any filter, without “spicy� and “theatrical.� That list relax it,� he continues. “In order to

58 NEW NOISE

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BRIAN POSEHN INTERVIEW

BY DOUGLAS MENAGH

I

The album, almost seven years in the making, has been described

by Posehn as being like Chinese Democracy by Guns ’N’ Roses.

t is a dream project for me,� says Brian Posehn on his metal comedy album, Grandpa Metal, which “Well, I mean, it’s kind of embarrassdropped Feb. 14, 2020, through ing that it took that long to do,� he Megaforce Records. says. “If I did it again, it wouldn’t.�

“It’s pretty crazy that I’m finally get- Grandpa Metal is immediately hiting to talk about it,� says Posehn, a larious. The album references metcomedy great whose work includes al songs, building upon the history The Sarah Silverman Program, Mr. of metal and mythologizing it. The Show with Bob and David, and more song “Big Fat Rock,� for example, recently, The Mandalorian. “It’s pokes fun at the single entendre something that’s been in my head in some metal songs. “It’s not innufor so long now that it feels pretty endo, I’m talking about my cock,� great to get feedback other than Posehn sings. my wife going, ‘Oh, yeah! I’ve heard that; do you have a new song?’� “I’ve always loved not just hair metal bands, but bands like KISS and Grandpa Metal is immediately hilari- Aerosmith, these innuendo songs,� ous. The album references metal songs, says Posehn. “Like ‘Ten Inch Record,’ building upon the history of metal and that song is so blatantly about havmythologizing it. The song “Big Fat ing a big wiener. Let’s do the dumbRock,� for example, pokes fun at the est brag song about a wiener that’s single entendre in some metal songs. ever been done.� “It’s not innuendo; I’m talking about my cock,� Posehn sings.

Other songs like “New Music Sucks,� written with Brandon Small (Metalo“I had written songs with Scott before,� calypse, Dethklok), see the comedian says Posehn. “They were just one-offs. set his sights on pop music today. With Still, they were commenting on things lyrics like “I’d rather listen to Billy Joel, about heavy metal and heavy metal and I hate Billy Joel,� the song is hysfandom that people would find funny.� terical and brilliantly satirical. “That song was really easy to write,� says Posehn. “I could keep doing that. New music sucks every year; check out this year’s offering and do jokes about it.�

genres,’� Posehn says. “Do an Amon Amarth song. Do a Rob Zombie song.

Do a Slayer-type song. It sort of came together more in the last year.�

The album also features cover In addition to other comedians songs, including ah-ha’s “Take on such as Weird Al, Grandpa Metal also Me,� which is also the first single refeatures a truly stellar lineup of met- leased from the album. al musicians including Corey Taylor (Slipknot), Gary Holt (Slayer, Exodus), “Every song you could think of would and Jill Janus (Huntress), making this better if it were metal,� says Posehn. a truly collaborative endeavor.

In addition to recording a stand“‘Dream team’ is the perfect way of up special later this year, Brian describing them,� says Posehn. “Not Posehn plans to make music videos only do I know them, but I already for some of the songs on Grandpa Metal, release more singles, hit the looked up to them.� road, and make more metal comeThe result of these collabora- dy in the future. tions is a massive, headbanging, face-melting record, with a truly “Scott Ian and I are talking about going out and promoting [the album],� eclectic range of diverse songs.

Posehn adds. “I want to do more! If “When I started this record, it was people like this record, I want to do like, ‘Let’s do our comedic take on another record but not take seven this genre that I love, but not all the years or six years to do it.â€? đ&#x;’Ł đ&#x;’Ł đ&#x;’Ł

60 NEW NOISE

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K

INTERVIEW WITH GUITARIST BJARTE LUND ROLLAND BY THOMAS PIZZOLA

velertak, the six-piece Nor- Kvelertak then had to go about Well, maybe a little bit. “discord,� a commentary on the band wegian punk/metal wrecking making a new record. In order as well as the state of the world. crew, have come a long way to achieve rock excellence, “There was no real plan in terms of in their 13 years as a band. They’ve they decamped to Salem, direction other than that it generally “The title is a reference to discord won Norwegian Grammys and nu- Massachusetts in the fall of 2019 to gets boring to do the same thing in our personal lives in and outside merous, critical accolades for their record with Kurt Ballou at his God over again, so we always try to do the band,� says Rolland, “As well as albums, and have been handpicked City Studios. Ballou produced the something new and mix it with the grown-up stuff like politics and the to go on tour with bands such as Me- band’s first two albums, and they old,� Rolland says. lame state of public discourse.� tallica and Slayer. Yet, their ascent knew he was the right man to help was almost cut short when vocalist them create their fourth one.

The album also features two Kvelertak have managed to turn and co-founder Erlend Hjelvik left  songs sung in English, “Crack Of potential tragedy into triumph. the band in 2018. Some bands might “It just made sense, with the new Doom� and “Discord.� This is a bit They have a killer new album pack it in after something like that, vocalist and everything, to go back of a departure for Kvelertak, since in Splid along with a killer new but not Kvelertak. They love what and record in a safe environment. they’ve always written their song vocalist. The band’s future is once they do too much.

Kurt is very easy to work with and titles and sung the lyrics in their again looking bright. They have has a very particular trademark native tongue. definitely blasted through all “We wanted to continue with sound,â€? Rolland says.  roadblocks and are ready for the Kvelertak because we think it’s a “We’re trying to get bigger in the next phase of their career. pretty sweet-ass band, and it’s fun The fruits of their labor, Splid, out U.S.A. so we can tour there more to play gigs and hang out and stuff,â€? now on Rise Records, is a testament because it’s so fun, but the radio “It’s definitely the next chapter. I guitarist Bjarte Lund Rolland says. to their devotion to their music and won’t play our songs because foresee a future heavily laden the glory of rock ‘n’ roll. Over the they’re in Norwegian,â€? says with our certified, face-melting In order to continue, the band—which course of its 11 tracks, the band Rolland. “We figured if we asked a blend of progressive punk rock also consists of guitarist Vidar Landa, deliver another sermon in bringing few friends to sing on a couple of (or something). We’ll be touring guitarist and vocalist Maciek Ofstad, the rock early and often. Splid songs, we’d have a good excuse for a while after the release, bassist Marvin Nygaard, and drummer has a little more of a hard rock to have something in English, so but hopefully we’ll get to work HĂĽvard Takle Ohr—needed to find a strut and a little less black metal maybe we’ll get a tiny bit bigger in on a new record ASAP,â€? Rolland new lead singer. In their minds, there than Kvelertak’s previous releases. the States.â€? concludes. đ&#x;’Ł đ&#x;’Ł đ&#x;’Ł was only one person up for the job, and This wasn’t exactly thought out in that was Ivar Nikolaisen. advance.

The album’s title translates into

62 NEW NOISE

H

I

​INTERVIEW WITH GUITARIST / VOCALIST CHRIS SPENCER BY THOMAS PIZZOLA

T

he genesis of Human Im- issues that are important to Spencer. let it be out there and get absorbed where he is right now in his creative pact - which features guiby people. Then we plan to do as life. The future is wide open. tarist and vocalist Chris “The world is changing, don’t you much touring as we possibly can.â€? “These are guys I’ve known forever Spencer (Unsane), keyboardist Jim know?â€? he says. “I’m sure you’re aware Coleman (Cop Shoot Cop), bassist of it. I walk down the street in New York It might have taken a long time to get and that I’ve always wanted to play Chris Pravdica (Swans, Xiu Xiu) and City and see so many phone zombies, to this point, but Spencer is content with,â€? he says. đ&#x;’Ł drummer Phil Puleo (Cop Shoot Cop, it’s ridiculous. A bunch of the stuff I’m Swans) - goes back almost three de- writing about is painfully obvious. This cades. In the late ’80s and early ’90s, is stuff that means something to me. each member of the band was try- I’m not going to write about how I’m ing to make a name for themselves love with some girl or anything like in the Lower East Side’s grimy noise that. I’ve traveled quite a bit, and I’ve seen how overpopulation affects the and noise rock scene. planet. So, I write about stuff like that.â€? ​ “[Jim and I] always talked about  Human Impact’s live debut took making some music,â€? says Chris ​ Spencer. “We’ve always wanted to place last year in the band’s homework together. I wanted to bring Jim town of New York City. The gig went in to do samples for Unsane in the down as a major success, though ’90s when Cop Shoot Cop broke up. Spencer had a little trepidation going into it. Now we’re really doing it.â€? ​ he impetus to finally get together “Did I feel any nerves? Yes and no,â€? he T and create some music occurred says. “It was a no pressure situation. I after an Unsane show a few years say that sarcastically. These days evago, Spencer says. With that simple erybody has their phones recording encounter, he decided to make stuff. What if an amp blows up? Or Human Impact his main endeavor. somebody dies? That’s the only show Soon, they brought in Pravdica and we have on record for three months.

Puleo, and they were a full band, I think we did alright.� ready to get down to the business of Expect more live action from the ​ making some new noise. band in the near future. They have ​The fruit of their labors is a self-ti- a record release show scheduled tled debut album, which comes for March 14, 2020, at Saint Vitus in out on Ipecac, on March 13, 2020. Brooklyn, and then plan to hit the Human Impact’s sound is layered road for some touring. and dense, and contains plenty of the grime and feedback you would “We’re looking at July for the States, expect from a band of its pedigree, and then in the fall, we’ll hit Europe but also has a slight melodic side, es- and the States again,� Spencer says. pecially in the vocal lines, that makes “We are deciding to lay low for a little it memorable. T ​he lyrics deal with bit after the record comes out and

64 NEW NOISE

deliver it,� he explains. “I would sit and think of as many different types of vocal delivery as I could that would work.

And I was like, if there’s nothing that would fit here outside of yelling, then that’s where we’ll yell, right there. But I didn’t want it to be another album that was centered around just aggression. I wanted there to be a genuine build in every aspect of the music.�

That build shines through powerfully, and Orthodox’s dramatically intense music lets listeners confront these dark areas head-on. Easterling explains that the uniquely poignant, shared experiences provided for by the new album add to the community around hardcore music, which the band have been touring in since 2013. The band still get a reception from friends in the hardcore community around the U.S., regardless of the steps that they’ve taken away from the musical style’s strictest confines.

PHOTOGRAPHY BY KYLE BERGFORS

INTERVIEW WITH SINGER ADAM EASTERLING BY CALEB R. NEWTON

T

he fierce, Tennessee-based Easterling names inspirations like nu band Orthodox sound catharti- metal greats like Korn and System of cally direct on their new album a Down, alongside other bands like Let It Take Its Course, which drops Feb. Deftones and Lamb of God. The band’s 7, 2020, via Unbeaten Records. The nod to nu metal, via their combination band pack plenty of the ferocious, of straightforward intensity with swingphysically devastating riff-attacks ing dynamics, provides a perfectly that those familiar with their back- complementary entry point for the poiground in hardcore may latch onto. gnant emotion at the core of this album.

But here, Orthodox also dive into grimly solemn-feeling dynamic swings, Easterling explains that the lyrical like they’ve personalized the devas- perspective features a struggle with tation, and it’s got a sinister face. Vo- wanting to lash out against an assailcalist Adam Easterling’s piercing, nu ant who hurt a loved one. metal-esque range highlights these dynamics perfectly. “I guess I would want it to catch on that you can’t have love without hatred “There’s a lot of songs where it’s like: there to compare it to,� he shares. here’s this riff that kicks ass, here’s “There are bad things that are done with another one, here’s another one - good intentions. Outside of the overall are you still keeping up?� Easterling concept that is written about, there was explains. “But we do have songs that a lot of the idea of, you don’t realize have that verse-chorus-verse struc- how dark that you can become until ture. That was a lot more fun for me something causes it in you. I don’t think to write, when we were able to find it’s ever really a choice. I think it’s just a way to use elements of all ends of something that’s planted and grows.� the heavy music that we are inspired from, and make them fit without it Easterling and Orthodox tied these sounding forced.� observations together with the free-

dom provided by looking for the right emotional tone, no matter the genre conventions. “One of my main goals vocally with this album was that I didn’t want to yell a part unless there was no other way to

“They still show up, they still wear the t-shirts, they still support us - and that to me means almost more than them liking the new record and singing along,� Easterling shares.

Ultimately, Orthodox feel committed to the grind, and the soul at the core of it. “We never learned lessons from advice,â€? Easterling jokes. “It was always, let’s fuck this up, and then we’ll figure out what to do next time.â€? đ&#x;’Ł đ&#x;’Ł đ&#x;’Ł

FOTOCRIME INTERVIEW WITH SINGER, SONGWRITER, AND PRODUCER R. BY MARIKA ZORZI

S

outh of Heaven is darker for me.

I don’t know if it’s more personal, but I think it’s exploring a darker side of my psyche.�

With the second full-length chapter in Fotocrime’s narrative to be released on March 13 via Profound Lore Records, singer, songwriter, and producer R. has found comfort on the fringes.

“This record was written in the winter,�

R. says. “It’s kind of a colder and lonelier place than [the first Fotocrime album] Principle of Pain. I’m trying to expand my horizons and try different things. Hopefully, it’s a very pure voice coming from myself out to the listener.�

plains. “I don’t believe in Satan. I’m non-religious, and the idea of Satan is pretty ludicrous to me. I don’t believe there is an evil entity. The record throughout deals with a lot of mythology. There’s heaven and hell, and Saturn, who ate his young, and Paethon, who flew too close to the sun and fell to earth. Obviously, the American South has its mythology, religion, and also a lot of mysticism.

So, I’ve dealt with all that, but not in terms of evil, not in terms of, like, Satanism or anything like that, which I find silly.�

The stories comprising South of Heaven are twisting and boundless, unfolding with unexpected paths and hairpin turns.

South of Heaven sounds like a “They’re all my thoughts, or my long journey, a trip into darkness opinions, or my way of connecting where R. follows the path started to the world, or vocalizing things

by Fotocrime’s 2018 debut. The ti- I’m thinking about,â€? R. explains. tle of the record itself represents “Like, ‘Hold Me in the Night’ is about, a journey and touches on topics literally or figuratively, seeing the such as hell, the human world, world end and just wanting to be and living in the American South, held. Whether you’re all alone in where R. comes from. your normal life, or whether that’s the reality, the world is literally “South of Heaven is definitely about burning, and this might be the last my state of mind and the feeling of moment. It’s very real.â€? disconnect, and about the American South,â€? R. explains. “This title Love is also one of the main themes just kept sticking with me because on South of Heaven. The album is I’ve never really explored being swimming in open wounds and the with the South. I’ve kind of fought it spilt blood of heartbreak (“Love Is off in many ways. I don’t ascribe to A Devilâ€?), a harp-tinged appeal for any of the religious things you see in care and company (“Hold Me In the South, and I’m actively against The Nightâ€?), and a postmortem of the racism, but I am from Kentucky. derailed destinies (“Expulsion From I’ve lived here my whole life. There Paradiseâ€?). is a connection to it. Even though the songs don’t necessarily relate to that “I believe in love,â€? R. says. “I think I can idea, I wanted to explore it. The idea tap into pessimistic views of love, but of the record is about being here I also think that I believe in it. I’d say and feeling kind of disconnected I’m a romantic in that sense. I think from your home but also loving it sometimes you’re most pessimistic and trying to find that balance. I about the things you believe in most. think that sense of alienation is kind Just like I love music, I’m probably critical of music [more than] anyof a thread throughout the record.â€? thing in my life; it’s the thing I have South of Heaven, by definition, is a the strongest opinions on. Maybe synonym for hell. There are many love is the same thing, something references to this on the record, like that you know so well and you have the first single, “Love Is A Devil,â€? or so many feelings about, but you also the song “Expulsion From Paradise.â€? have very strong pessimism towards at times as well.â€? đ&#x;’Ł “It’s definitely metaphorical,â€? R. ex-

66 NEW NOISE

STRIKING OUT INTO THE GREAT UNKNOWN

DEREK SANDERS INTERVIEW BY ANNETTE HANSEN

F

or 14 years, Derek Sanders has built a career as the frontman of Mayday Parade.

Through the band, Sanders has been able to share his music with the world. It’s a new decade, though, and Sanders is now ready to put his musical gifts out there in a whole new way.

On Feb. 14 Sanders released his debut solo EP, My Rock and Roll Heart, via Rise Records. Despite having an active and successful music career, Sanders doesn’t shy away from discussing the nerves and anticipation he has surrounding the project.

“It’s kind of weird, because it’s such a foreign concept to me at this point,� Sanders says. “Because I’ve been in Mayday Parade for 14 years, and I haven’t put out any type of music in any type of project other than Mayday Parade.

Everything in Mayday Parade is a group, you know, the five of us vote and decide on things, and it’s kind of nice to have the freedom to do whatever I want.�

called ‘But Lauren,’ and I recorded it as a Valentine’s Day gift for my wife,�

Sanders explains. “I ended up showing that song to the guy who wrote it, his name is Mike Hanson.�

getting feedback. That’s been super rewarding.�

As Sanders embarks on this new outlet in his career, there’s a lot to look forward to. With the freedom of creating and touring as a solo artist, he is ready to enjoy whatever comes next.Â

The EP consists of five stripped-down Sanders says showing Hanson the covers from bands like Saves The track was the first push towards a Day and Jimmy Eat World, all songs bigger project, that Sanders says were important tracks from his teenage years. “When I sent [the song] to him, he “I’m excited to know what people was the first one to bring up like, think of it, and excited to go play “These bands all had a huge impact ‘yo, this is great, you should release a couple of shows,� Sanders relays. “Part of what’s neat about this is on my life and on the music that I this, put it out somehow.’� that, because it is just me, whenwent on to create,� he says.

Now that the project has come to ever there’s time when Mayday Releasing a solo EP wasn’t a spur fruition, Sanders is reveling in the Parade is off, it’s easy for me to zip around and play a few shows here of the moment decision for Sand- reality and the newness of it all. and there. Maybe fly to some placers. The project began as a single recording of a single track, meant “It’s been something I’ve thought es and play a couple of shows, and as a gift and not for wider release. about doing for so long,â€? he says. just sort of keep it simple for now, Ultimately, Sanders and others saw “Even when I recorded these songs but have fun with it. I don’t know, potential in bringing a full solo re- years back, it’s just been like ‘one it’s just an exciting thing.â€? đ&#x;’Łđ&#x;’Łđ&#x;’Ł lease to light. day this will be a real thing.’ And now we just put out this first song, “The first song that I recorded is and it’s actually real, and you’re

NEW NOISE 67

INTERVIEW WITH VOCALIST AND GUITARIST MARTIN BUSH

BY NICHOLAS SENIOR

E

veryone knows that the original is always better than the sequel, except when that’s not true—The Dark Knight, The Empire Strikes Back, Terminator 2, the list goes on. Now, we can add Vol II—out March 20, 2020 via Season of Mist—to that mighty list of times when a great idea was outdone the second time around.

Kansas City (if you’re anyone but the president, I’m sure you know that’s in Missouri) trio Hyborian stormed out of the gate with Vol I, an excellent batch of proggy, thrashy sludge fueled by an interesting, sci-fi narrative. Hyborian even stood tall in the face of Mastodon comparisons, in part because of their unique, thrashy execution— think everything Sepultura got right over their storied career, mix it with stadium prog and a guitar tone thicker than that natural peanut butter you need to stir to even get out of the jar.

So delicious.

68 NEW NOISE

That particular, sonic flavor is honed and honeyed to greater heights on Vol II—vocal hooks feel sharper; there isn’t a throwaway riff, and the songs feel laser-focused. This is like the holy grail of an intricate, prog odyssey that grabs you instantly and never lets go.

There’s a comfort that clearly came into play with the trio, who have been friends for decades before figuring out how well they fit into a band together.

Vocalist and guitarist Martin Bush reflects on how Hyborian came to be. “We really just started playing together and realized we wrote really well together,� he says. “We just started getting together in my garage (which we called ‘the shred’) once or twice a week, and a few months later, we had some pretty decent songs.�

This record is such a delight, brimming with ideas and truly astounding execution. Vol II

does contain some surprises, but it also feels more confident and assured in going about the various, musical movements.

Improved songwriting has paid off to where these feel more impactful as songs rather than just moments between killer riffs. Bush notes that nothing was forced this time around, and these great ideas came about through care rather than intention.

and feel of the source material,� he continues. “But [we] also felt like there always has to be something interesting going on.

Sometimes, it’s a vocal hook or an extra heavy riff, sometimes a rhythmically interesting part.

We really just wanted there to be no filler on this one.�

That source material is The Traveller, a long-form, sci-fi story written and released by Bush to accompany the album, “As clichĂŠ as it is, we are really and Vol II is the second in a just getting together and having planned trilogy. Spoiling the fun when we write,â€? he explains. story would ruin half the fun of “We aren’t really aiming for a diving headfirst into the world specific sound; we are just of Hyborian, but all the thought making the metal we want to and love poured into making hear. I think that if Vol II has the band’s now-patented better writing, it’s probably just brand of progressive sludge because we have been writing was matched by the labor that together longer now, so our went into this engaging and process is a little more defined, harrowing tale. and we understand how to work with each other even better.â€?

Now we just have to hope that Vol III is more Indiana Jones “Obviously we wanted the feel of and the Last Crusade than The the music to match the mood Godfather Part III. đ&#x;’Ł đ&#x;’Ł đ&#x;’Ł

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KOOL KEITH X THETAN: SPACE GORETEX: ANTI-CORPORATE RECORDS

ROAD WARRIOR/GRAVEBREAKERS: THE DEATH IN HEELS ON WHEELS/ DEATH PROMISE: GATES OF HELL

POWERWOLF: BEST OF THE BLESSED: NAPALM RECORDS

After joining together to release a single in 2019, Nashville duo Thetan reunite with legendary rapper Kool Keith to forge a fulllength, Space Goretex, out on April 10, 2020.

Thetan’s Chad L’Plattenier and Dan Emery once again provide a slow, dark foundation of bass, drums, theremin, and synth for the Ultramagnetic MC, a stark difference from the band’s powerviolence and crusty, hardcore roots. Space Goretex features guest appearances from the likes of Casey Orr of Gwar/X-Cops, Gangsta Boo of Three 6 Mafia, and Blag Dahlia of Dwarves. Additionally, Ethan Lee McCarthy of Primitive Man created the grisly, collage cover art. The album can also claim the bragging rights of being the first time all of Kool Keith’s primary personas—Dr. Octagon, Dr. Dooom, and Black Elvis—have performed on one album.

Sweden’s Gravebreaker and Australia’s Road Warrior beckon the depths of Hell with this 7”, released on February 21, 2020. Gravebreaker provide slashing metal in the vein of Angel Witch and Judas Priest, with an unreleased track, “Death Promise,” which recounts the kung-fu thriller by the same name, and blazes in the tradition of spiked leather bracelet brilliance. Road Warrior’s “Death in Heels on Wheels” channels progressive metal with a sinister twist a la King Diamond and Fates Warning. The band are known for the brute force displayed on their album Power, but here, Road Warrior branch out to tease their fans with some new sonic exploration, in anticipation of their imminent LP release.

Superb titans of modern metal Powerwolf celebrate their 15th year with a compilation of 16 tracks—seven of them re-recorded in 2020. Lauded for their dominant live set, Powerwolf also append this June release with 14 live tracks, with four more included in the special-edition LP box set. These German legends prove once again why they have hit number one on their country’s charts multiple times. Powerwolf start a month-long South American tour at the end of February with a European tour planned for the summer.

BY HUTCH

AGNOSTIC FRONT: THE ELIMINATOR: NUCLEAR BLAST Following 2019’s Get Loud!, Nuclear Blast give the most die-hard fans of Agnostic Front a treat on March 13, 2020. “The Eliminator” is a set favorite from the NYHC legends’ 1986 release Cause for Alarm.

“The Eliminator” and “Toxic Shock” were re-recorded for this 7” release during the Get Loud! sessions featuring the powerhouse Pokey behind the kit, Craig Silverman on guitars. and Mike Gallo on bass, and completed by the destined duo who have been bonded since 1983: Vinnie Stigma and Roger Miret.

This limited edition 7” will be bundled with an action figure based on an illustration by esteemed NYHC artist Sean Taggart. Just 1,500 copies will be made available worldwide, and as Nuclear Blast proclaim: “The audio will be available in this physical format only!”

MAGGOT BRAIN: PRINT MAGAZINE: THIRD MAN RECORDS With a moniker that nods to Eddie Hazell and Uncle George, Jack White’s humble label will produce four issues of the print magazine Maggot Brain in 2020.

A bold move in the current digiscape, but White loves his analog audio and now breaches music journalism. The inaugural edition boasts pieces on an eclectic spectrum, including Alice Coltrane, Mia Zapata, J Dilla’s Donuts, and non-musical articles such as “Malls Across America” and “Vibrant Detroit Sign Painting.” Maggot Brain truly exhibits a pulsating thread of DIY culture and a general love of fervent art and music fans.

70 NEW NOISE

AMERICAN NIGHTMARE: LIFE SUPPORT: DEATHWISH INC.

THE ARCHAEAS: ROCK N ROLL: TOTAL PUNK RECORDS

A resurrected American Nightmare had fans swooning with reunion shows and a staggering full-length in 2018. Well, in 2020, they bless us with a new 7” EP, Life Support.

The release, sardonically released on Valentine’s Day, is comprised of two tracks. The melancholic-but-charged, post-punk title track is paired with a cover of The Lemonheads’ “Left for Dead.” The vinyl is available in light blue, light grey, and black, and the band begin a month-long U.S. tour with Ceremony in February.

Louisville, Kentucky trio The Archaeas, released a two-song EP in February simply titled Rock N Roll. Low-fi and dirty—but infectious— the record combines a driven, thundering, low-end bass and jangly guitars. The songs are unfiltered and caustic and lie somewhere between the Louisville aesthetic (Black Cross, Coliseum), killer guitar leads, and a Billy Childish appreciation. RIYL: Complaints, Regulations, Cerebral Ballzy, Armitage Shanks.

ANALOG BECAUSE CASSETTES RULE HARD AND NEVER REALLY AGE, T HE 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.

SOAKED IN PISS/ GORMANDIZING: SPLIT TAPE: CHAOTIC NOISE PRODUCTIONS

RENE J NUNEZ: POEMS E ON MAGNETIC TAPE: NO RENT RECORDS

Brooklyn’s Soaked in Piss play the sound of humans ripping themselves to pieces as the world collapses in on itself. This split cassette with the equally pummeling Gormandizing (Chaotic Noise Production’s own Jason Hodges) is quick and hellish, the sort of thing that fits real nice as the go-to for confusing and angering all your peers.

Rene J Nunez’s Poems E on magnetic tape is a folktale of dimensional honesty, a story interwoven around a tapestry of sound.

Where noise dominates the periphery, the idea of an acoustic guitar—the notion of that vision—is the center structure. The strumming of an acoustic note, the gentle direction of a piano key (perhaps here, simply a collage), is the genesis for such extensions like “Love Is A Word I’ve Never Used in A Song” and “Autumn Bitch.” By initially creating a space of solitude, Nunez is able to blend the hue of darkness without ever losing the listener. “Women I Would Marry in Los Angeles” is a great example of this methodology, a composition that gives the impression of having the features of a phonic spine, whereas its truth lies in the cold, dark heart of machinery. That’s perhaps the album’s most immense quality: a record composed like jazz or classical music, but whose circuitry is actually layers of steel, wire, and binary code. Poems E on magnetic tape is the tape to play on a rainy day, or even a sunny day; its beauty perpetual.

“Our music is a reaction to the current extreme music scene,” says Soaked In Piss vocalist James Dunbar. “We write music inspired by bands such as Assück and Discordance Axis but taken into a post-modern context where the real has been completely erased and turned into the hyperreal.”

Jean Baurillard would be proud. The lyrics aren’t easy to decipher, but you get a sense of the anger and gravity behind them.

“They’re eye-opening critiques of the outdated institutions that have held us back in life,” Dunbar notes. “The health care system, religious institutions, education, economics, and the 1 percent, as well as digging into existentialism and post-modern philosophy.”

72 NEW NOISE

RAW AMBASSADOR: BARBARIC TENDENCIES: SOIL Raw Ambassador’s techno is both fluid and tactile. Industrial boldness is at the center, while situational purposing creates the space to elicit modernity. Barbaric Tendencies contains an intersection of acid, synth, and minimalism that softens the cornerstone of each successive track. There is a feeling that one is in nature throughout, even though the group’s inner-core is built with inorganic might. The album is visual to a point of transference. Every beat is an image, every counterpoint a landscape: the picture transforms the entirety of the human form. It’s dark, and has the essence of the urban nightscape, the clubs and energy of the people of eternal midnight.

And yet, it is studious, refined, challenging the conception of underground and mainstream. SOIL is a record label out of Spain with some excellent releases under their belt. Along with Raw Ambassador’s latest, check out Penelope’s Fiance’s newest release, Negative Schemas, a sort of anarchic, futuristic geometry, with echoing dimensions both hellish and wide.

MASTA CYPHER DEVINE X GOOMSON: SP1000 BEAT TAPE: SELF-RELEASED The SP1000 Beat Tape is a return to the past, before the age of instant communication and direct technological infusion. Masta Cypher Devine and GoomSon have two hands in the analog jar as they transverse the multiverse with compositions built around jazz fluidity, dub totality, smooth cuts, and sniper-like precision. The two artists cut-andpaste with fire and aplomb as you feel the turntable spinning around like an eternal Buddha, the eye of the universe, the heart of life. Rick Rok appears on three tracks, a voice like a ghost, ebbing and floating on the periphery. “Truncate” feels like the inverse of some James Bond soundtrack, the concrete as reality and truth. “Patch Phrase” is dimensional opportunity, percolating with eons of repetition, breathing towards nirvana, closer and closer it floats. “Wave Edit” is homage to the golden age of hip-hop, the sequencing direct and nostalgic. A wandering soul is at the heart of SP1000 Beat Tape, digging for beats, for sounds to create, they coalesce as one.