Hyperblasts: Biffy Clyro Futique and Dying Wish Flesh Stays Together Reviews

Episode Transcript
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Speaker 1 (00:26):
Hello everybody, and welcome to That's Not Metal and welcome
to an addition here of Hyperblasts, our weekly news rock
metal show where we let you know everything that you
need to know, everything that's been going on this week,
every live announcement under the sun, every big cover you
need to hear. We are also at the end of
the show today we are going to be reviewing a

(00:47):
couple of other albums as well that didn't quite you know,
sneak their way into last week's review show. Last week
we spoke about albums from the likes of Lorna Shore
and Scorpion Milk and all sorts of cool and interesting stuff.
If you missed that one, dive back into and find
some albums for your delectation there. But as said, we
have a couple more big ones just you know, come

(01:07):
in our way right before the end of September here
that we can wrap up there. That is what we
have got for you today. My name is Parin Haysh.
With me joining me on this little task is Sam Dignon.
Hello Sam. Last week, literally right after we recorded, we
both went had very different nights. You went to see
Biffy Cleiro doing some kind of intimate show thing. I think,

(01:30):
you know, we can talk more about that maybe a
little bit later on because we can be reviewing their
new record.

Speaker 2 (01:34):
It was an album released show, so yeah, like it
was very focused around the new album.

Speaker 1 (01:38):
Yeah, so we are going to be reviewing I said,
the new Biffy Clia album that's out at what was
out last week, wasn't it? And we were also going
to be reviewing the new Dying Wish album which is
out today at the end of the day show. But
you went and saw a Biffy Cliro right after we recorded.
I ran off to have in some way scarier evening,
but Portal did not play Instant History, so I think

(01:59):
it was old really the end of the Day less traumatic.
But yeah, I went to see one of the you know,
kind of real. They're one of those bands Portal who
are They're legendary in the underground, and because I think
they are one of those bands who in some way
kind of raised the game for other bands, like that
whole experimental avant garde, like the kind of death metal

(02:22):
that is your least favorite kind of death metals.

Speaker 3 (02:25):
Hey, I'm coming round to it, you know.

Speaker 1 (02:27):
Yeah, we're baby steps, but we're getting the baby steps,
but Portal are there at the bottom of that step.

Speaker 3 (02:34):
We're gonna build a few more.

Speaker 1 (02:36):
Like yeah, they are, like said, they came out and
they raised the game for other bands in terms of
like how suffocatting and evil can this kind of music be.
And they're from Australia and they don't get, you know,
around the world very often. The last time they were
in the K was ten years ago. I believe it
was at Temples Festival and that was still around, so
that's a reflection of how long ago that was. But

(02:57):
Portal did. They did like two or three dates in
the UK, like their first in ten years, and I
was like, I've got even just if only this is
the one time I see them, just to have that,
you know, experience, and it was just a cacophonous, kind
of trance inducing nightmare. There's always elaborate kind of visuals
going on where the singer known as the Curator in Portal,

(03:21):
he's always got some kind of weird different headgear going on.
The best era every Portal fan knows the best era
of Portal is when he was dressed as the giant
Grandfather clock and you can go and look up pictures
of portal singer looking like something at a Kingdom. Heart's
like some kind of giant clock man. He's also been
a weird like eldritch tentacle being at points in time

(03:42):
this little run he had sort of giant demon horns,
very spooky stuff going on. But that was my extravagant
evening of evilness last week. We should briefly touch base
on something that you then did after that, Sam, you
went to a hardcore festival and di Fest.

Speaker 3 (04:01):
Yeah, Difest.

Speaker 2 (04:02):
It's a small kind of independent hardcore FESTIV in Brighton.
It's the sort of thing that a couple of years ago,
you know, an outbreak change and everyone started winging a
lot of we'll just put on these sort of.

Speaker 3 (04:14):
Hardcore fests if you're unhappy with how outbreak it is.

Speaker 2 (04:15):
And there's a going Brighton who like runs like he's
in a bunch of the bands and he puts on
this festival. He's like curly for the love of the
game with hardcore, and so he's now putting on his
own two day hardcore FESTORV in Brighton.

Speaker 3 (04:28):
This is the second year of it.

Speaker 2 (04:31):
I was headlined by Age of Apocalypse and Magnitude, so
that's you know, that's the sort of the upper level of.

Speaker 1 (04:36):
Well, we reviewed the Age of Apocalypse alum. I'm quite
positive about it. I wanted to mention last week, I
forgot the Poison the World tour that we went to.
I forgot to mention the openers. So just while we're
on this sort of you know, slightly smaller, you know,
more DIA level hardcore kick who was it killing you? Soft?
Bodyweb and Bodyweb who I thought that you considering the
the US States had like a glass to or better

(04:57):
lovers and all the stuff. We were waiting for quite
a while to see what the kids sports would be,
and I thought it was quite cool. They ended up
being too, you know, kind of up and coming UK
hardcore bands who are right for that sort of thing
and killing me softly. I quite like them on record,
super aggressive, old school metal court of that kind, really savage.
And then Bodyweb was stranger and they have a little
bit of sort of Code Orange surfer forever about them.

Speaker 2 (05:20):
That's I saw them supports Scout earlier this year and
I mentioned that there. I was like, they have that
kind of just like Code Orange attitude to blending other
things within hardcore They're like have like loads of new
metal and like wrestle metal in there, but the basis
is still kind of hardcriving body Web really cool.

Speaker 1 (05:36):
I mean, they've got a guy with a laptop who
is like two stepping most of the time after he's
pressed his little sample, buttton where he was in But yeah,
that was cool. But yeah back to die Fest. Considering
hardcore Fest, you've got twenty minute sets. So those bands
are there are a lot of them, but just are
there any sort of a cherry pick names maybe of
the highlights to throw out there of bands that maybe
people you know might want to be checking out? Who

(05:57):
us all that weekend?

Speaker 2 (05:58):
I mean I'll give a shout on the Friday the
bands Impunity and Cross of Disbelief who They earlier this
year released a splitty p New York versus North Yorkshire
Cross of Disbelief being the New York representation of people
being in the North Yorkshire Cross of Disbelief. It's the
guitarist from Age of Apocalypse. He's his kind of side band,
really nasty, violent, kind of beat down, like big chunky.

Speaker 3 (06:20):
Horrible riffs. Impunity everyone you know.

Speaker 2 (06:22):
I think I've shout them out on the podcast before
I saw them at Outbreak. They're just a really fun
UK hardcle band, really good. I'm doing a shout to
Fatal Realm on the Friday, who were the second from
top band. They played for ten minutes. They have ten
minutes of music out and again just nasty. There's a
buzz around them. It feels like considering again they have
ten minutes of music out there and they've had like

(06:43):
but you know, they're second for playing a ten minute
fest and the crowd is going like feral violent for them.
Sweden is clearly having kind of like a buzzy kind
of hardcore resurgence at the moment, because there are three
Swedish bands in this lineup and all of them were
really good. On the Friday was band Sidestep, who were
way more kind of like bouncy and on the fun,
playful side of hardcore.

Speaker 3 (07:04):
And then on the Saturday.

Speaker 2 (07:05):
There was Bulls Shit like two words ship with two
t's like and again they were like more like rowdy,
raucous punk band, like a bit of like Oil in there,
but still kind of like very hardcore based and the
real big sort of one of them was Speedway here
or another kind of like quite buzzy hard core a
band they really now murdered Year, which is really fucking good.

(07:28):
They you know, all pace, all momentum, kind of like
really rousing, go a bit, you know, like the Comeback Kid,
kind of like just going one hundred miles an hour,
not stopping for anything. They were greating their vocalists live,
super charismatic, full of personality like they were. They were
maybe my favorite band at the festival. On the Saturday,
there was a Violentcia who were the second band on

(07:49):
and this is like, oh yeah, every festival should have
a twenty minute power violence set at three At three
pm in the afternoon, there were Mexican power violence bands.

Speaker 3 (07:56):
So this still think it was like.

Speaker 1 (07:57):
Get them at slam Dunk.

Speaker 2 (07:58):
Get them at slam Dunk. Honestly, like this is one
of the things. It was like a very sort of
global line up. There was bands from all over and
Violentially they're a Mexican power violence band, and it was
you know, they played like what twenty songs in twenty
minutes basically, like every song was just like a minute explosion.

Speaker 3 (08:16):
Calcine were one that really jumped out to me. I
quite like them before. They are a French metallic hardcore band.

Speaker 2 (08:21):
You can kind of get when I said that what
they're going to sell that, but I'm well into what
they're doing. Tac Beer, who I've mentioned before, played Outbreak.

Speaker 1 (08:29):
They're the tack Beer with a Q yea MoCCA.

Speaker 2 (08:33):
I can't exactly where they're from, but they are nicely
them on a hardcore festival like this where they're kind
of put among other like more typically like violent hog
bands and then still be greeted and like given a
good reception. That was really cool. Outside the headliners, I
will say the big event on the Friday turned out
to be Dynamite set on the Saturday, sorry, which was Diynahite,

(08:55):
who were at the moment out on tour with Basement
and on the line up things that they did pop
up on that stage times Dynamite and Friends, and initially
what that I thought that turned up to be was
they had a guest on for every song. Basically Dynamite,
they're a like London hardcore band. They are almost like
the like embodiment of what you would expect a London
hardcore band in twenty twenty five to be, where with

(09:16):
what hardcore the uncompassing hold was that they released a
really funny EPOI this year, but like.

Speaker 3 (09:22):
Fun energetic but still like bruising and mean hardcore.

Speaker 2 (09:26):
They were really great and they had, you know, people
from other bands on the festival, people from other bands
just not playing the festival turn up, and that kind
of culminated in their last song, Andrew Fisher from Basement
just kind of like falling on stage to do guess
what for their last song they finished and goes, I
might as well start up here, and then from there
we get a two song secret basement set and a

(09:47):
hard festival, no barrier and where they just rip through,
spoiled and whole.

Speaker 3 (09:52):
So two of the kind of more like upbeat.

Speaker 1 (09:55):
You don't need to come at this time, come at
this time.

Speaker 3 (09:58):
But it's like for two songs like.

Speaker 2 (10:01):
It was this is a festiv where you know, there
was the horseshoe for a lot of the festival, a
lot of fist swinging, a lot of violent dancing and
washing two step in and that was the vibe. But
for the two Basement songs, everyone rushed the stage and
everyone was like, right, this is stage, live time, this
is singing a long time. It was insanely called so
obviously that pulled together because the Friday of the of

(10:23):
the festival clash with the London Basement date, which is
why I didn't go to that was all of those
annoying clashes.

Speaker 3 (10:27):
But getting this as like a little a.

Speaker 2 (10:29):
Little taster of other things of like the basement thing,
but in like I say, no barrier, body's playing on
for that final rift part of whole it did. Then
the pit went like full on arms planning again, which
again you're not going to get that at your average
basement show. So that was really fucking cool. And then
as the headliner, as like I say, Age of Apocalypse.
We reviewed their album, really liked it. They are a

(10:51):
very sort of unique prospect in hardcore because it is
entirely sung almost and again here was that vocal like
a cormal Catholics more.

Speaker 3 (10:58):
Or less jarring it live.

Speaker 2 (11:00):
But it is just so funny how like one moment
everyone is like arms in the air doing these like
big heavy metal belted kind of like lead vocal parts,
and then the beat down drops and the arms come
down and they start flying everywhere. But they were great,
like they were one of the few bands was like
I could have done looked longer than half an hour
for you because I think you know, there's actual kind
of like there's a bit more to these songs that

(11:20):
are you kind of mean sory, but like for a
half hour Halffest headline set, it was like really impressive.
And then Magnitude on the Saturday are straight edge metallic
hardcore band. They're really good. They're on the more positive
like side of straight age. When this was like hear
my voice, come back to the light that it's all
kind of like you can do this, like come together

(11:42):
community they are, but they're just like wicked metallic hardcore.
Like it was again like that was that was another
one that sits where it was kind of like not
as much about mastering and anyone was kind of like
down the front, piling on, singing, grabbing the mic, just
spreading the good world of straight edge and all that.

Speaker 3 (11:58):
But it was it was a really cool.

Speaker 2 (12:00):
It was good to see, like again, festivals that are
kind of like what Outbreak used to be just sort
of being put on now. So if people who are
like upset the outbreaking our catering more to EMAO and
hip hop and other side of things, then also putting
on these events and it's being done pure out of passion.
It's kind of been done to be a global showcase
of hardcore as well as showcase of the local Brighton scene,

(12:20):
which does feel like, you know, we're talking.

Speaker 3 (12:23):
About this kind of the insult hard scenes.

Speaker 2 (12:24):
The Brighton won actually feel was that kind of like
one the more open and welcoming and less kind of like, oh,
we're better than everyone else. It's kind of like, no, no,
we just fucking love hardcore. Here, come in, come get involved.

Speaker 3 (12:34):
Come dance violently.

Speaker 2 (12:35):
And I think that's one of those things where I've
me into quite a few sort of bright hardcore shows
because it's actually very easy to get to London, but.

Speaker 3 (12:41):
The vibe is just always really good at these sort
of shows.

Speaker 2 (12:43):
So yeah, I thought it was called to go along
to these festivals and just have a banging weekend.

Speaker 3 (12:48):
Most of it.

Speaker 2 (12:49):
Myself regretted it the next day when my back was
like you're thirty three, Sam, You're not.

Speaker 3 (12:53):
Doing this anymore. But yeah, difest really cool.

Speaker 1 (12:56):
Yeah, although with Age of Apocalypse headlining it, I reckon
that you get Candle Mass along with Chemists and Crypt
playing that thing next. Yeah, sounds good. Into news and
the fird thing that we're gonna mention is something that
I wasn't aware of until you brought it up. Sam,
So you brought it on yourself.

Speaker 3 (13:14):
Sent me and I was like, you fuckers.

Speaker 1 (13:16):
Sleep Token at their date in I guess it would
be Philadelphia, right, probably? Yes. This week dropped a cover
of Bruce Springsteen's Dancing in the Dark, and Sam, I've
not even watched this. I just wanted to make you
talk about it because you seemed upset.

Speaker 3 (13:37):
Just I've been so happy to your sleep Token this year.

Speaker 2 (13:41):
Do you know, Like I'm done. I've washed my hands
of them. But I saw this and I was like,
you fuckers, Oh, let's let's do the thing of taking
a really kind of joyous sounding song and making it
a sad piano ballad, because oh, that song's actually really
deep and sad. That song, it's like the most lazy
hack thing you can do with it, not just sleep Token.

(14:02):
This is my least favorite style of cover I think
now ever, is the sad piano version.

Speaker 1 (14:08):
They've got history with it with hey, haven't they.

Speaker 2 (14:11):
Yeah, it's in that exact thing, but it's the the
John Lewis advert cover that's sleep Token have decided to
make their approach to covers as well. And it's just like,
I mean, do you know what they're gonna cover any
Springsteen song? Fine, do Dancing in the Dark, do the
least interesting kind of like most basic choice of Springsteen cover. Yeah,
I'm sure you feel so creative and fulfilled for taking

(14:34):
a song that is, you know, all pop known for
the iconic music video and making it like, oh, it's
actually it's really deep and sad.

Speaker 1 (14:39):
I mean, I'm glad they didn't do the ten minute one.

Speaker 2 (14:42):
Imagine them to get someone playing saxophone to do the
Jungleland cover.

Speaker 3 (14:47):
But yeah, I just said it.

Speaker 2 (14:49):
I was like, this is the in the the endless
list of seeming the awful thing sleep Token was subjecting
us to.

Speaker 3 (14:54):
This might top the list for me.

Speaker 1 (14:56):
Yeah, I just wanted it as Sam's upsetting thing of
the week. Moving on to something that you know could
be upsetting for me, big big news this week of
an upcoming event and it is a little bit of
a way off. But Watan this week posted a long,
flowery and watane esque language statement, So I won't read

(15:19):
the whole thing you know with wa say it is
an entire their entire you know, career is this one
big kind of cosmic crusade against the Light in the
name of Lucifer and all the stuff. So if you
buy into it, it makes sense how they how they've
written this thing. But I won't read the whole thing out,
but Watain have said that they are now entering essentially

(15:42):
the closing chapter of their career, and specifically, in twenty
twenty eight they are going to be releasing a final
album and at that point disbanding. Interestingly, the way they've
word that, it makes it sound like so it's for
the thirtieth anniversary of the band, which apparently formed on
September the twentieth of twenty of nineteen ninety eight, so

(16:04):
it's on September the twentieth they posted this statement, and
then that's the date we're looking at for for three
years time. Makes it sound like the album is going
to be released, and then they immediately break up, so
it doesn't sound like we're gonna be getting an album,
and then they tore it for a couple years. I'm
not sure how that's going to work exactly, but essentially,
in three years time, for the thirtieth anniversary of Watan,
they are to be no more. There will be one
more album. The next few years are going to be

(16:26):
the last years of shows. We haven't got any concrete
dates or anything announced yet because it is a way off,
isn't it. But I imagine surely we'll get probably in an
ups lie in Sweden, you know, a final show and
final shows everywhere else kind of leading up to that.
But twenty twenty eight wate going out. It's been a's
been a mad couple of weeks for things that you

(16:47):
know entered my life as teenager, as a teenager that
you know are now dipping out of it. This this
sort of hasn't hit me yet because it is so
far off. It's like, we're not immediately losing WATA, and
we're losing Watane in three years time, and I've got
time to see them again, and I've got time to
make plans and do all this kind of stuff. So
it hasn't fully hit me yet. But this is one

(17:09):
of the most important bands in my life, one of
the bands that I have the strongest emotional attachment for.
Who I will. I am looking at this going like fuck,
I've got three years to try and see as many
shows as I because they are basically the greatest live band,
certainly for black metal. You could imagine seeing who have
the most incredible catalog and I want to see as

(17:31):
much of it as a feasibly can, you know before
they go, And and now I have a deadline. It's like, fuck,
I've got three years to see as many you know,
different Watan scenarios as I feasibly can. But if anniversary
of Watane in three years time and then they're going
to be done? Sam your uh, you know your connection
to Watan is probably less intense than mine. But what's

(17:51):
your take on this?

Speaker 2 (17:53):
I mean, like, I think I can always direct a
band kind of guying this is our sort of endpoint
and kind of it on their terms, ending it on
like thirty years of the band. Films are kind of
like a nice way to sort of wrap up an album.
I do look at the three years and advance and
kind of go like, man, we have just accepted that
this is how business is done.

Speaker 3 (18:12):
Now is you announce your breakup several years in advance?

Speaker 2 (18:15):
Cut Like ten years ago, announcing your break up more
than six months in advance was considered like eye rolling
and cringe and embarrassing.

Speaker 3 (18:22):
And now it's kind of like yeah, you know, this
is our last.

Speaker 2 (18:25):
Album cycle, this solos all, this is our last sort
of like five years of touring as.

Speaker 3 (18:29):
A band, like exaggerated.

Speaker 2 (18:31):
But I think they are a very important band in
black metal and kind of like raising the profile of
black metal in the twenty tens. I would say, like
like them and bear Off and that there's this rise
of like black metal bands crossing over into again my terrain,
like what one of the bands are I discovered through

(18:51):
them kind of stepping out of the sort of the
underground crypt of black metal and they did, you know,
race profile of it. They have been, you know, a
prickly band for arious reasons. But mostly I think like
whilst I've only whilst I only really consider the world time,
it's like the Watin album I love and think it's special.
I do think, you know, the albums have always been
like of a solid quality, and I think there's going

(19:15):
to be a loss to that scene.

Speaker 3 (19:16):
But if they're if there, if this is how they
see their.

Speaker 2 (19:19):
Time coming, and then yeah, I think I spect that.
I think obviously, yet do get to as many shows.
If you've never seen Latain, I would still say try
and see them on this fine on their shows are
events like I've seen them live twice and both times
have of been like this is you know, fiery and
intense spectacle. It's the kind of most insane spectaere you

(19:39):
can probably see in a venue the size of what Watain.

Speaker 3 (19:43):
Would usually play. Yeah, and that is that, that is
something to behold.

Speaker 2 (19:47):
And I imagine that final show, wherever it may be,
is going to be kind of like the culmination of
it all. So I do think that there's definitely a
kind of like I feel like from an artistic side,
I think what they good for, what they've represented, it
is a loss to kind of like the extreme underground
world of art stuff like that.

Speaker 3 (20:07):
So yeah, I mean like in a way it's a shame.

Speaker 1 (20:09):
Yeah, I mean it's they've been coming to the UK
less and less in kind of the last ten years
as well, like when you know, sort of a circa
lawless darkness and in the Wild Hunt they were here
quite a bit and annoyingly that was the time when
I wasn't really able to go to as many shows,
and then in like the last ten years, I think
they've only been here you know, a small handful of occasions.
So if they do, you know, come to the UK
just for all of our home listeners. Certainly that is

(20:31):
the time to grab them while they're here. But then
you look at the really special shows that they're always
doing over in Sweden and playing fucking huge outdoor like
quarry esque venues and stuff like that, I can imagine
the final thing will be incredible. Yeah, you know, when
you're saying about the I agree it is vaguely comical,
being like in three years, upon the thirtieth anniversary, we

(20:53):
will disband, But it does you know, it depends on
the type of band, because if this was a hardcore band,
then that would be comical. But Watan are so they're
obsessed with numerology and things like that. The fact that
it's on the anniversary, we'll probably have some great you
know intent behind it, and it is so sort of
spiritually minded that, you know, them kind of a landing

(21:16):
an end you know, date for it. I think is
good for them, and I do think it is still
more of the considering what I mean, thirty years and
they have not but they have been special for every
fucking year of those thirty, like they've never dropped it
at all, and it is I think it's still what's
the Dillinger esque approach of We're gonna call it here

(21:36):
is our final album, you guys know, it is our
final album. These are our final shows. And by the way,
we're still fucking amazing. It's a bit more protracted maybe
than what Dylinga did, but it's of I think it's
still of that kind of thing, and I think with
wat and it probably will be it will be meaningful
rather than just to kind of cash grab and then
appear again, whatever it might be.

Speaker 3 (21:54):
I do agree with that.

Speaker 2 (21:54):
Yeah, I think that's a fair point. It just that
Freeze is the longest, Yeah, of that exact thing. Anyway,
I don't I'm that kind of like, this is art,
this is it, this is the final run. We are
baring out on our terms. Come and see us, come
and celebrate us, and come and enjoy these final moments.
I don't object to that kind of like announcing, you know,
a global tour that goes on for a while, but

(22:16):
it like it just three years is the most kind
of like, oh, this is the longest one it's been
so far.

Speaker 1 (22:20):
Yeah, and it is comical there, but I believe that
and are one of the best bands to ever Grace
the planet, particularly in metal, Like we are talking in
my view, one of the elite of the elite of
the elite, on the level of literally any metal band
that you want to throw out there, just in their
kind of black metally corner of it. But this is

(22:42):
just kind of a you know, a public service announce
for everybody, right if you want to see this hall
of fame one on record, on the stage, in every
ounce of how they've approached their art and what they're doing.
If you want to see one of these bands who
have essentially playing metal at the highest possible form of

(23:03):
the art form that it is possible to do it,
you've got three years now and then they're done.

Speaker 2 (23:08):
So I think I am going to try and get
to the next time they're in London.

Speaker 3 (23:13):
I would like to see it one.

Speaker 2 (23:15):
Last time, just kind of be like, yeah, that was
you know, I like you a one off band doing
something again, which I've not always loved as much, but
I've always kind of been like I can, I can
just kind of admire what they what they do as
a band, Like I think it's great.

Speaker 1 (23:30):
Yeah, And like I said, it hasn't fully hit me
emotionally yet, but I am looking over the next three years,
and I'm envisioning you know, the journey that that might take.
So it is something that I think will be in
the you know, in the kind of approaching window, you know,
for the next three years, three years time, one last album,
the final shows, and on their thirteenth aniversary they are done.

(23:52):
And also on the kind of you know, the opposite
end of the sort of team spectrum more and the
kind of indie and alternative rock kind of realms, Foxing
announced more immediately They're not waiting a few years. Foxing
announced that they are going on hiatus, which I know
that like Elliott for example, has been very heavy on
the praise for their kind of most recent material, and
I have seen that shared as well. I think it

(24:12):
needs to be, you know, said that Foxy's latest record
and the kind of the last few years of their
band have seemed to have become a real kind of
like have a cult appreciation around them. So it is
a loss to the other side of the T and
M realm that Foxing are going to be departing this
as well right onto the show announcements and by god,

(24:34):
this is literally the entire rest of the news bit.
But we have so so many. For some reason, we've
got some kind of end of September glutt of every
band announcing enormous tours, every festival announcing stuff. So let's go.
Iron Maiden's mystery show that we knew was announced. We
had their you know, a whole im Maiden tour announced,
and there was a mystery UK day. I thought we'd
be waiting longer to find out what that was the

(24:55):
way they were doing it, but it is Nebworth next
year ned Worth. I guess it's kind of being opened
up again for shows as a talk of Oasis and
so on doing stuff around it as well, So I
guess while they're there, Iron Maiden are also going to
be putting on a big outdoor event, which is cool
to see them doing. You know, it's not part of

(25:16):
a download or a Sonosphere or something. It is just
Iron Maiden's own big outdoor event. It's got a bill
with the Who that's the Mongolian One, the Darkness, Airborne,
and the Almighty. So it's a very classic, even with
some of those bands being more twenty first century bands.
It's a very classic in feel, isn't it? Outdoor bill?

(25:37):
But yeah, I imagine many of the hardcore Maiden faithful
the opportunity to get them to see them doing a
kind of just a big, outdoor spectacle type show, even
if it is just a continuation of the base of
the show that we've seen this year, will be big.
My Chaemical Romance have added a few more dates to
their UK shows along with They were already announced playing

(25:57):
in London, weren't they. We now have two dates in Wembley.
We now have another one of those dates in London,
but we've also got Liverpool and Glasgow added it as well.
They're gonna be playing anfield in Liverpool, Bella Houston Park
in Glasgow. I have kind of not really been following
like Cambel Corrobers have been up to too closely. They
just seem to be sort of I don't know. They're
one of those bands who little similar to the system

(26:19):
I was saying recently exposed of that. They have kind
of been consistently about for the past few years, haven't they.
What kind of stage where you said that?

Speaker 2 (26:27):
Yeah, they they have been like touring, not that they
they feel very locked into this black Parade.

Speaker 3 (26:34):
Nostalgia, but is it not nostalgia sort of thing?

Speaker 2 (26:37):
I was kind of like, not two fuss much in
the back parade line, but then sort of glimpses of
the stage shows they've been putting on in America kind
of came out and I was like, Oh, they are
doing this full on narrative theater productions via Mia and
Romance concert, which to me, I was gonna, like, do
kind of want to see that? So I do wish
it would eventually amount to something. You know, remember when

(26:59):
they really Foundations of Decay and we were like, oh,
they have something new in them and it's exciting, and
then it's been sort of nostalgia since then, a little
bit displayed of that, But I mean, I'm going to
one of these Wembley shows. I'm gonna have a good time.
And yeah, they are just you know, a huge, like
mega live band who can do multiple dates in the
biggest stadiums now and sell out like tickets at high prices.

Speaker 3 (27:22):
So that's that's where live music is at, isn't it
like all that?

Speaker 1 (27:25):
Yeah, I haven't been closely paying attention to the last
couple of years, and it will probably be like, you know,
insanely expensive. But I've never seen my core romance and
so I should probably at least take a peek at
the Anfield date and be like, what's going on there?
What's going on? We also then have here we go,
this is the really exciting stuff starts to happen. One
of the first big metal albums of next year will

(27:48):
be Creators new album, which is called Crushers of the
World with a k with Unbelievable that can be on
January the sixteenth, so very early out the doors new
career a record, and the support tour they have announced
for it, going across Europe and the UK, is a
bill with Creator of course headlining it, bringing along Carcass,

(28:12):
Exodus and Nails, and they are going to be playing
venues like what are they doing? Bricks and Academy in
bricks and Academy, Yeah in London, The Apollo in Manchester,
two Academy, Glasgow. I think that it's been a while,
like maybe a couple of years since I've seen a
big like a big package metal tour announced in the

(28:33):
UK that's made me go like, oh fuck, yeah, you
know the way you know you would with like the
Trivium Code, Orange Power Trip or whatever, like you know,
those type affairs. I can't remember the last one was
that really kind of excited me, like this, but obviously
for the for the gnarally shit, but in big venue. Still,
this is the most I've looked at a poster and
gone in a while. This is fucking Nails. Are going

(28:54):
to be playing a Bricks and Academy.

Speaker 3 (28:56):
Nails opening Bricks and Academy.

Speaker 2 (28:58):
Like yeah, fine, it's going to be, you know, to
a small crowd, and it's gonna be by no karate
in the pit people. But still, now's everything Bricks and
the Academy. I've never seen Carcass. I'm very ecb Like really, yeah,
I never seen Carcass. Is like right, finally take them
off and Exodus but.

Speaker 1 (29:14):
Extra just the record. Exodus are one of the thrash
bands of the eighties who are still fucking sick. I've
heard records are really good, they're even better lives, So
yeah them Creator is perfect.

Speaker 2 (29:22):
I've heard that, and I've heard they've had to kind
of like a lineup shift, which is kind of one
of them more cut some of the iconic members come
back and I'm not massive.

Speaker 1 (29:29):
I saw them this summer at Mystic. They were fucking
sick always like this.

Speaker 2 (29:32):
Again, it's a great package of like legendary bands and
a newer Ish band on their just like mean bands
that mean business within the world of like kind of
like harder end of metal.

Speaker 3 (29:46):
I think that's a wicked package. I'm very excited to see.

Speaker 1 (29:49):
Yeah for Metal next year. That is going to be
hard to beat. That is so sick. Thrice are also
going to be doing a European and UK tour next year.
They are coming through in March. Support is from Lyicis Strata,
who I have to confess I'm not familiar with. But
Frice have got their new record coming out next month,
isn't it, So they'll be touring in support of that.

(30:10):
The Pixies have also got a UK and European tour.
This is their fortieth anniversary tour. It's going to conclude,
oh sorry, not conclude, but it will include a date
at the Royal Abbot Hall in London, also playing Manchester, Dunfermlin, Limerick,
York and several of dates around Europe as well. Over
in the underground, Belwich and Aerial Ruin are going to

(30:33):
be doing a European and UK tour of their Stygian
Boo kind of collaboration project. You may have seen that
Damnation a couple of years ago, but they've got a
new record in that line coming out, and they're going
to be touring the UK and Europe with forty What
Sun opening those dates. So that is a real sad
evening out for the sad, gloomy doomy metal heads. So

(30:55):
that's good. There's also even the direct opposite of sadness.
But very very exciting is there is going to be
a big folk metal tour coming around the UK and
Europe next year which is a co headline from corpor
Clanny and Fintrol. This, I mean the tour bill overall

(31:15):
with the other band, you know, there's less of the
outright bollocks that you sometimes get that really you know.
I mean remember one of the last times that corpor
Claney tour the UK, they were playing with Alestorm, so
I did not go. So it's nice that it's just like, Ah,
corpor Clani and Fintrol, that's such a good package together.
Fintroll are fucking brilliant live. This is I'm in for this.

(31:36):
This is exciting.

Speaker 2 (31:37):
The goblin is that's not to goblin is to wear
and have a little jig around some Yeah.

Speaker 1 (31:43):
That is that is very very good, a very exciting
tour for the jiggers amongst us. But yeah, that is great.
Then let us move into now festival announcements. Those are
all the UK and European tours that have come through
this week that are big and of note. But we
got just now a first announcement of slam Dunk twenty
twenty sixth, the first round of bands for that next year.

(32:05):
It is going to be headlined by Good Charlotte. It
also features apparently a first ever UK show from Sublime,
which is not a name I imagine people have expected
to see on this poster taking back Sunday doing the
twentieth anniversary celeration of Loud, and now it's also going
to feature it. Then you go down to the bill
and there are many many bands on there. There are
the likes of Berry Tomorrow and Cantor Bats. In the

(32:26):
more kind of heavier end of slam Dunk, there's Hawthorne
Heights are there, Motion City Soundtrack, Dashball Confessional, the Mensingers
are their zebra Head. Of course, tonight a live unpeople,
whole bunch of stuff. Sam I will throw over to
you as the resident slam Dunk attendee of that's not metal.
What do you make of the first slam Dunk round
for next year?

Speaker 3 (32:46):
This is the first slam announcement in the copy years
were like, a won't that? Actually?

Speaker 2 (32:50):
I've been kind of like very unimpressed with slam Dunk
first announcements and still end up at the festival. I
think this one's was pretty good. You know, say what
about good Charlotte. They are a kind of like obvious
choice to headline slam Dunk. They will play the hits
and then you can go to the toilet during the
new songs, But you know, be a fun headline set

(33:10):
the supply thing of.

Speaker 3 (33:11):
Trying to reut.

Speaker 2 (33:11):
So does Sublime with Rome whatever that kind of offs
you was in the twenty tens. That does not count
as Sublime playing the UK apparently.

Speaker 1 (33:19):
Yeah, I'm not familiar enough to really tell you what
the difference is. Yeah, No, I did see this post
around went what the fuck? I guess it makes sense
that maybe you know, Sublime the first time around did
not make it over to the UK before you know,
just disbanding. But it was a bit of a Again,
you wouldn't have put your bets on Sublime.

Speaker 2 (33:38):
They you go with the new focus of that. But yeah,
I would quite like to see Sublime live. It's one
of those things I never kind of expected to see.
I like my scar punk that would be quite fun,
loud and our set that's guaranteed to be good fun.
Cancer Bats have kind of hinted this is kind of
going to be a possibly are like a birth in
the Giant twenty anniversary set. They kind of on on

(33:59):
the post about they're kind of like coincides with twenty
years of our debut album. And if you look at
their font on the poster, it is like an older
Cantabats font, right, so that that's something.

Speaker 3 (34:09):
That could be such fun.

Speaker 2 (34:10):
The Menzigers are there, like I can't really complain about
the Mensingers. Yeah, I think like my main takeaway from
this is this looks like for the first while, a
slam dunk like that stewing a little older again, like
someone's always kind of appealed to the kind of like
millennial gen Z crossover, like the older millennial nostalgia with
the kind of like gen Z, like having nostalgia for

(34:31):
near they weren't part of.

Speaker 3 (34:33):
But and then the bands are kind of like chasing that.
It feels less.

Speaker 2 (34:36):
Of the kind of like stuff like that, you know
you've got president is kind of like the obvious one
for that.

Speaker 3 (34:41):
But when you know you've got a on the lineup.

Speaker 2 (34:44):
And stuff like that, it's like it is definitely kind
of going like, hey, you remember these bands you liked
when you were a teenager, Come come see them again.
Look at it kind of a yeah, I think this
is a solid you know, slam Dunk is what slam
Lunk is now, it's not It's not the first fore
you go to for depth and high art. You go
there to sing along songs you like as a teenager,

(35:05):
and I think delivers on that this time. I think
there's you know, at least a couple of actual like
the Mensingers are there. You know, there's incredible kind of
like bands still doing amazing stuff. So go enjoy that.
People are you know, very promising. Yeah, I think good, good,
first go from Slamlung This time. I'm not like winging
about it.

Speaker 1 (35:25):
Yeah, I think I'm just so like out of tune
with finding slam Dunk remotely exciting or interesting. And half
of the bands are always ship and I do look
at this post drug. Oh yeah, well half of these
bands are ship and it doesn't help that one of
those is the biggest band on the post. Good Charlotte
aren't ship. Good Charlotte always been ship. That's a maybe difficult,
but they're particularly shit now I'm not having that they're good.

Speaker 3 (35:46):
Yeah, fair enough.

Speaker 2 (35:47):
Their new album is like I've made the comment that
that's the sort of thing Jordan Fish should be doing,
is like past it band, stick with them, stop ruining
good new bands.

Speaker 1 (35:55):
Yeah, so so you know that doesn't necessarily bowl me over.
But as you saying, you know, Sublime is newsworthy at
least loud and now set. That is pretty cool. The Mensingers, yeah,
not not mind blowing, but it is slam dunk. So
there they are. And then if you are not a
slam dug attendee, if we flip to the total other

(36:17):
end again of the tinnam spectrum, where more festivals have
been announcing stuff, and particularly this week it's been the
two Camden based extreme metal festivals that begin and end
the summer basically, so Incineration Festival have been announcing stuff
this year and Cosmic Void, which just happened this last weekend,

(36:38):
have also been announcing stuff for next year's event, so
both of those, like I said, in you know sort
of the Camden Center, Incineration takes place in May, Cosmic
Void is slightly more specialist, takes place in September. The
Roundhouse is where Incineration are again like they were this year,
going to be bringing their bigger thing, which meant it
kind of displays when Incineration book the Roundhouse, it means

(37:00):
they have something in the pipe pline that I think
warrants the Roundhouse because they don't always use it, and
I predicted. I was like, what have they got left
that could do that that they haven't done, like an
Emperor or something, and I thought it might be this.
They have announced they already had two Molt on the
bill from before, but over this week they have announced Hypocrisy, Vomitory, Reed,
and the headliner for the next year's event will be

(37:21):
Blood Fire Death, which is the big bathary kind of
tribute ensemble show featuring many people from various black metal bands,
such as Eric from watain Ghal is apparently going to
be there for the London one. He wasn't there at
the one that I saw guys from Enslaved all sorts.
So the first UK show of the big blood Fire

(37:42):
Death tribute set is going to be headlining Incineration next
year at the other end of the calendar in September,
like I said, be slightly more underground specialist version Cosmic Void,
they are going to be headlined. I think on one
day it's going to be Moonspell, the Portuguese kind of
goth metal band, but they're gonna be do it seems
to be a more sort of old school nineties where

(38:02):
they're little bit more maybe cult in that kind of
ingrained in that scene set, but also hell Hammer's music
performed by Tom G Warrior's Triumph of Death band, who
were last in the UK in twenty twenty two when
I saw them playing at the UK Deathfest, But that
is going to be coming around for another chance to
see it if you're not there. We also have one
of the guys from Sarcophago is going to be playing
a Sarcophago set. So for all the eighties Brazilian maniacs,

(38:26):
that's cool. Astics are their unleashed. Their tmat is there,
so particularly with you know that that Trent for Deathing
and the Sarcofago thing as well. There's some really good
stuff happening there on that Cosmic Void bill. So yeah,
it's looking like it's gonna be another busy year for
attendees of gnarly underground festivals, and you're going to have
to pick which ones really sing to you the most.

(38:46):
But from a couple of different ones there there is
stuff on the horizon to be excited about. So let's
do the hyperblast stuff of reading out the releases. So
we have two weeks worth here because we did our
review show last week, so let's fire them out quickly
before we then get onto the couple of albums that
we are here to review in this show. So last

(39:07):
week Nine Inch Nails released the tron Aries Original Motion
Picture soundtrack. I didn't actually realize because the movie isn't
out yet. I was kind of waiting till Lotober when
the movie was out, and then it was like, oh fuck,
the album's out, like weeks beforehand, and we were sort
of unsure, you know, how how much a nine Inch
Nail studio album is this going to be because they've
obviously they've done lots of soundtrack type stuff under their

(39:29):
own names. But we and then they released that song
and we were like, oh fuck, this is a nine
inch Nails banger. What's kind of going on here? Listening
to the record, I think it is very scory, right,
but it has a handful of sort of full songs
I suppose you we call them sprinkled over it, maybe
three or four. And I noticed there's a lot of

(39:49):
the score tracks that kind of reuse themes and stuff
that are in those main kind of primary bangers. So
we're probably not gonna review it as like a normal
Vaneage Nails album, but no score record is out there,
and there are certainly a handful of like full on,
you know, songs throughout that too sink your teeth into,
so it's more than nothing in it. Paradise Lost release

(40:11):
their new album, Ascension, which has gotten quite a bit
of praise. I don't think it's as good as Obsidian,
the previous album, which is legitimately one of the best
albums of their career. But I need to listen to
this more. It's very long, but it's got kind of
some you know, nineties icon draconian times kind of vibes,
and I always like Paradise Lost, so there's more for
me to sink my teeth into there. We also had

(40:32):
Castle Rat their second album, the Best Yeary, following the
debut album that we reviewed last year. Also quite a
lot of praise around this one. I think it is
pretty good again, just like the debut was very good.
I think it's certainly it's you know, it's an advancement
on their promise, kind of bringing you know, maybe the
threads together a little bit more. They're gonna be playing

(40:53):
Damnation pretty soon. So exciting stuff there. The O the
new Castle Rat album is out there. Motion City Soundtrack
have an album the same Old Wasted Wonderful World, and
I believe this is their first album in a long time,
maybe a decade or something like that, So.

Speaker 3 (41:07):
I think it's about a decade, yeah, exactly.

Speaker 1 (41:10):
Yeah, it's around that sam excitement for Numerous City Soundtrack.

Speaker 2 (41:13):
They've always been a band I kind of like quite
casually like so I'm kind of curious. I'm not gonna
got around to listen to this album yet because it's
just been a busy few days, but I do want
to check in or see what, like watching, you know,
brought them back after such a long break and what
do they feel they have to offer.

Speaker 3 (41:29):
But you know of those.

Speaker 2 (41:30):
Kind of like emo E pop punks or college rock
bands on that like, They've always been quite a sort
of well regarded one, so I imagine this will still
be pretty good.

Speaker 1 (41:39):
Yes. Then we have Gray Wind, the Irish alternative rock
emoy type band. They had severed Heart City. The Cardiacs,
a really influential experimental rock band from kind of their
eighties and the seventies. I believe they are back with
their first aime in a long time because they had
a rejuvenated lineup, but a lot of excitement for new

(41:59):
cardiac out there. There's also a shoegaze band. This is
very in the shoegaze the end, but if you like
that stuff, you might be interested in hearing the new
record from a band called Total Wife, with a record
called come Back Down See four hardcore band. I believe
they played the outbreak that I went to a couple
of years ago, but yeah, with an album called Paybacks

(42:19):
a Bit, and it's got an album cover that had
to be censored on streaming. So exciting stuff for fans
of big schlongs out there, but tasty hardcore see four.
There there is Igor with the many Ours, the very
head fucky experimental avant garde, crazy electronic sort of slash
metal project. They have released their new album amn Australian

(42:43):
extreme metal band where Wolves have got the ugliest of
all into kind of goth doomy terrain. Again. We had
November's Doom releasing the album Major Arkhana. More in sort
of maybe kind of black gazy Territory is a band
called Heratoire who released an album called solid State. This
is I believe kind of and maybe more in the

(43:04):
line of sort of like uh, you know, revivalist Melodath
maybe played by some hardcore adjacent people. But a band
called Amnio released a record called Psalms of Immortality, which,
like I said, if you like your sort of Gothenburg
vibe but played now, then that is out there. There
is Firmament, who are a sort of like very you know,

(43:25):
trad fantasy inspired Wizardly if you will, kind of classic
heavy metal band. They put out a record called for
Centuries Alive and we had a couple of EPs. One
comes from a band called Secret World. It's called Tomorrow
is a mystery to me, Sam, you want to explain
who Secret World are?

Speaker 2 (43:41):
Yeah, So they are like a gathering of like Australian
hardco hardcore musicians. One of the guys from Speed, one
of the guys from my fixed Trophy Eyes. I don't
know if anyone's band Hellians like like established dudes in Australia.
I've come together to just do a well I'm kind
of saying, is a lot Springsteen Corps punk record. It's,
you know, rousing kind of melodic punk in the sort

(44:04):
of the vein of the Mensingers and those sort of bands.
But because there's a bunch of hardcore who's playing it,
it is just a bit rougher.

Speaker 3 (44:11):
I think the CPS wicked.

Speaker 2 (44:12):
It's so just speaking my language of big kind of
stirring melodic punk rock songs.

Speaker 1 (44:18):
I mean people from Speed playing the Mensingers. Is Sam
all Over actually yeah yeah. And then also, if you
want more in the way of hardcore EPs Missing Link
on Triple B Records put out Miracles Smile. Moving on
to today's records, that's the twenty sixth we had the
starting Line back with a record. I think it's their
first time in like seventeen or eighteen years or something.

(44:42):
Eternal Youth Sam, I don't know, Sara Funny time in it.
I don't know Dick about the starting Line do you care.

Speaker 2 (44:48):
They're never one of those bands that kind of like
caught my sort of like there were a bit before
I was like really getting into as long as going
to and.

Speaker 3 (44:56):
Like I know some people who really liked them.

Speaker 2 (44:58):
I'm sure there'll be people have nostalgie that the sound
that will be excited for this. Maybe I'll give it
a listen, but yeah, like that kind of nostalgia.

Speaker 3 (45:06):
Fine, yes, Then.

Speaker 1 (45:08):
We have Sprints with all that is over. This is
the Irish kind of post punkish band who put an
album I think it might have been last year. It's
pretty quick, but they put an album I remember being
quite well acclaimed and well lights. So there's a follow
up to that here. Then we have Dave House, who
is one of those guys from again the sort of
like more garagey indie punk kind of circles. He's got
a recorded Dot Dot Dot and the Mermaid flipping into Scandinavia,

(45:32):
the long running legendary Finnish folky proggy death metalie whatever
they feel like doing on the day, really but a
morphous I've got a record called Borderland Revocation. The American
deathy thrashy, very good band. Their new album is called
New Gods, New Masters back to Scandinavia, vinter sor so
folky kind of black metal. He's got a record called

(45:54):
Vatton Craftiness Spell the I believe sort of gothy again,
more gothy doom type stuff or Melodath even leaning to
that terrain, more principient est with darkness invisible, really fully
on into the goth terrain. Here the band Essys have
got Pain at the Altar of Jest. And then we

(46:15):
have about four EPs from today to go through as well.
One does come from President who have got there. I'll
remind everyone their debut release, King of Terrors, is out today,
so I expect that to be the one that everyone's
casting judgment on and for in their their their take
in tomorrow. But then there's also Pealing Flesh, the slam

(46:37):
band who the member of Sleep Token who came out
with Trivia and but Bloodstock was wearing appealing flesh shirt.
But they've got but They've got an EP called PF
Radio two. Then the proggy stonery doom type band Elder
released a quite lengthy EP with very long interesting songs
called Liminality Slash, Dream State Return and the Indian War

(46:59):
Metal b and Tetragramma Side released an EP called cyber
Tantric Paradigm of Radical Sree video, which if you're not
into President, maybe that will be the vibe you will
go to their album. Their last album, Tetra Grammar Side,
was fucking crazy, so I'm intrigued to check out what
they've got cooking in the EP department. So those are
all out today or yesterday, you know, or last week

(47:21):
even for you know, ready for your listening. But there
are also a couple more albums that have come out
over those two weeks that we are going to give
our take on here before we then fully open up
to October's releases. The first that we are going to
talk about came out last week. Biffy Clyiro their album Foutique.
I had this down in my you know, my running records.
I had this down as being released today, and I

(47:43):
didn't realize apparently they brought it forward a week at
some point. So it did take me by surprise when
everyone started talking about it last week. But their tenth
official studio album. They've got a myriad of releases, haven't they,
between B sides and film soundtrack albums and all this
type stuff. But the ninth album in that official Core
series I suppose was the myth of Happily ever After,

(48:05):
which I won't like. I haven't really gone back to.
I think most people seem to have kind of collectively
decided to just kind of treat it as like the
sort of B side twin record to a celebration of endings.
But I remember Hunger and Your Halt at least really
good song. You factored those two you know records together
as the sort of the Sisters as they are supposed
to be, and that is then comfortably their kind of

(48:29):
strongest period in a while, right, Celebration of the Endings
comfortably their best album from twenty ten on. But I
think many people would disagree with that. I would certainly
disagree with anyone who disagrees with it. It means that
the last time we really were speaking about them, twenty
twenty to twenty twenty one ish was the healthiest spot
they had been in the TNM era, right.

Speaker 2 (48:49):
Yeah, when the world was shut down and no one
could you know, really go and enjoy that. But yes, no,
I do agree.

Speaker 1 (48:55):
It had some festivals and stuff, didn't the Yeah.

Speaker 2 (48:57):
No, they did actually do some stuff around them and
I do generally agree, whilst I will like I'll go to.

Speaker 3 (49:04):
Bat for opposite the entire time. That's another conversation.

Speaker 2 (49:08):
This pairing of albums was e very strong, even though
it has maybe maybe the worst beef for Cliro song
ever is on the rest of the album is outstanding.
I love that album.

Speaker 3 (49:19):
Ivan.

Speaker 2 (49:19):
The myth of the Happy ever After is kind of
like the darker, weirder, kind of like again Sister's album,
which not as front back as good, but I still
has some really cool songs on it.

Speaker 3 (49:29):
I do like that paying of albums, and it was
it was like.

Speaker 2 (49:31):
One of those just like surprisingly fruit from creative periods
for the band Clio when when they were doing that
over lockdown all that. So yeah, that was arguably there
their most creatively interesting period since the twenty tens.

Speaker 1 (49:44):
Yes yes, four years on now from those and Futique.
It's the longest break they've ever had. And it doesn't
sound like if you if you're reading their interviews around this,
it doesn't like it was an especially easy break. Twenty
twenty to twenty one. Like I said, I I was
in pretty good spirits with Biffy Clyro. Really, I think
you know, we did our full special deep dive on

(50:05):
the That's Not Patreon around that time. And for a
band who I have had a rocky relationship with over
the years, that little pocket probably the most fondly I've
ever been feeling about Biffy Clira. To be honest, I
was into the back catalog. They had good new albums.
It was like, oh, yeah, cool Biffy Cliro. I like
Biffy Cliro. I think I would just say, and maybe
this is where we differ salm Andi and again maybe

(50:27):
from the really hardcore Biffy fans out there who have
really been enjoying this record, I only really like Biffy
when they are really punching on it, you know. I
think that's just the best way for me to say it.
I don't like the bare minimum sound of Biffy Clyro enough,
when it's just the twee bollocks, you know. Like we
all have got our bands where regardless of what maybe

(50:48):
level they're operating at, we just vibe with them. They're comfy,
you know, the sound of them is inherently just pleasing
to us. I like Biffy Cliro when they're really on it.
Biffy Clyro are not one of those bands for me
in the way I know they are for many other
people out there. I used to think I really disliked
Biffy Cliro because of that, and because I first heard
them off the back of Only Revolutions and then going

(51:10):
into the twenty tens and opposite era and so on,
and then I eventually I got to grips with them,
and I'm at a comfortable place with them where I
can say Biffy Clio are a band I think are
frequently capable of greatness, but for maybe my taste only
produce it about half of the time. Sam, we already
know where each other are on this. I think this
is that bare minimum Biffy that has very little to

(51:32):
interest me. You are more of the type where Biffy
Cliro are a band you have gone with really album
upon album. What is your fans perspective on Foutique?

Speaker 3 (51:43):
You've nailed it is.

Speaker 2 (51:44):
The thing is the core sound of Biffy when they
are kind of like at their base, is very comforting
to me. I just like it, and I'm happy to
go along with a lot of this album. Biffy are
at their best one hundred percent when they have bite
to them when they are Weirdoh Like the thing is
that's what made you know, Solvation of Endings such a

(52:07):
great album with the accepiment into history.

Speaker 3 (52:09):
That album has you know, weird songs.

Speaker 2 (52:12):
It's got you know Cops as the closure, which is
one of the most like batshit endings.

Speaker 1 (52:16):
This album has me wishing for a Cops syrup so much.
I'm like, you can just do that. You know, you're
allowed to do that. You can do that all the time.

Speaker 2 (52:24):
It's got a tiny indoor Firebles, which is still probably
my favorite before Pharaoh song of the past ten years.

Speaker 3 (52:30):
Maybe I think that song is wonderful.

Speaker 2 (52:32):
It's got end of you know, which is one of
the more can like atic rock songs.

Speaker 3 (52:36):
So like that.

Speaker 2 (52:36):
When they've got that in their calog I think is
when they're at their best. Futique is. I don't think
there's a bad song on this album in Isolation. I
like all of these songs because I think they're just
no comforting codes, nice songs, and I think some of
them are better. But this album is so desperately lacking
in that edge. It is the most kind of like

(52:57):
settled and comfortable. I think Biffy Clara have ever sounded
even you though on Only Revolutions, which is when they were,
you know, their biggest kind of like breakthrough writing pop
rock songs. Moment that still has you know, that golden
rule on there. It has some of the weirder like
like born.

Speaker 3 (53:14):
On a Horse and stuff like that.

Speaker 2 (53:16):
It's it's still an odd ball album even when they
you know, it's got many of horror. This album is
kind of like just stripping away all of the kind
of like freak tendencies of Biffy Cliro to kind of go.
Here's eleven nice rock songs for you to sit and enjoy,
songs that gonna sound good on the radio.

Speaker 3 (53:34):
Some of them are a little bit more rocking. A
lot of this album is ballads.

Speaker 2 (53:39):
Too much of this album is ballads, which is where
my kind of like issue does come into it.

Speaker 3 (53:44):
But I don't dislike this album. I have a nice
time listening to this album.

Speaker 2 (53:49):
But I also do not begrudge you kind of going
what is there with this album because this is purely
for the people who just want to hear Simon Neil
sing nicely and okay, have a bit of a riff
in there.

Speaker 1 (54:02):
Yeah, this is. Of all the big band reviews we've
got this year, this is one of the ones that's
just like gives me the least to even hang on to,
you know. And like previously in the Biffy Cliro cannon,
previously I would have said that album was Opposites, which
is a massive double album, which I know we differ,
but from where I'm sat, a massive double album that
just has a couple really of good songs on it.

(54:23):
This has the Curtsey don't only give us one disc
of it, but there's even less highs on it, you know,
and those scant highs the Opposites had for me aren't
here on this. And then there's Ellipsis, which I do
think is their worst album, but that has actively bad
creative decisions on it that do kind of mark it out.
Either way, we are back to like peak whitebread Biffy

(54:45):
Cliro era with this album, Like it's just you know,
go on, give us nothing, you know, And that's just
where I'm at with it. I is boring a little
love lead single first track didn't excite me as a single,
and I think ultimately maybe that was sort of the
omen of what was to come. But it is at
least the one hook on this album that I have remembered.

Speaker 3 (55:03):
I really like with a little love is what they opened.

Speaker 2 (55:06):
When I saw them live, I was like, yeah, no,
this this is this song's already you know between to
my head. So when with the live set, I'm singing
along and having a good time with it. It's it's,
you know, very much only Revolutions era pop. Biffy Clyro
is that sort of thing. It's got, you know, some
strings to add a little bit of like drama and
the piano, but that chorus is really catchy and big.

(55:29):
It is sappy like but I can go for sappy.
I'm fine with that. I think it's I mean as
a kind of like just pop rock Radio two song
that where again that sit do with this album, it's.

Speaker 3 (55:41):
Just a lot.

Speaker 2 (55:42):
I think it's really good. I think starts really strong
with that. And to Hunting Season. I mean those twos
like an opening one too. It's kind of delivering what
I want from the sort of as you say, the
Whitebread Biffy Clyro, which is I have a very kind
of like sappy but nice but still rousing sort pops.
And then Hunting Season having a bit more of a riff.

(56:03):
I do think Hunting the sort of song where fifteen
years ago Biffy would have attacked it a little more,
and I think it would have stood out even more
like that in the in the way that's sort of
like that Golden Rule would have is a victable maybe
a kind of like more cozy Biffy Clarro playing at
a bit more of a rocker, like when he's when
Simon's not half screaming, it is the most oh he's

(56:25):
half screaming this time, there's no kind of like none
of the feral tero dactyl kind of shriek that he
can he can do, but like another big chorus and
the outro riff on that way, it does kind of
like pick up.

Speaker 1 (56:37):
It's like, yeah they are when it does a Matt
bellody riff and just sounds like music at the end.

Speaker 2 (56:42):
Maybe, But it's one of the things where like at
the very least when Biffy Clara Arge doing you know,
rock songs, they are still a bit more musically playful
and interesting than a lot of other pleasant white boy
like radio rock band.

Speaker 3 (56:57):
So I mean, I think it's got that going for it.

Speaker 2 (56:59):
But from here the album kind of falls and is
this really like frustrating pattern of ballad rock song ballad
And it just does that until the.

Speaker 3 (57:09):
End, and I'm was like, something's BaADS in Isolation.

Speaker 2 (57:12):
I like Shot one is a little is maybe a
bit too far into the sappy kind of like Sacrine
Schmultzy thirty, but it's not instant the history bad and
again I think when the chorus comes back round, it
does kind of like ah, yeah, that that that that's
doing and they and they build on that nice emotional
CD with you is this love bit? Or if this

(57:34):
is love? And it's like yeah, this is a nice
kind of emotional ballad. So like in Isolation, I could
probably say nice things about all these songs, but when
you're sort of sequencing them as a kind of like
eleven song album that doesn't really do much else, I
can completely see how someone would listener is kind of
go like, as you said, go on, girl, give us nothing, Yeah.

Speaker 1 (57:55):
Back to a little Love. It's it's a kind of
you know, sort of pop rock melodic single that can
see why their core fan base would love it. That
personally just doesn't move me very much. It's okay, I
understand the appeal of that one. You know, the rhythms
and the strings. Part of the beginning, it's very optimistic.
I get it. You know, the rest of the record
is just dull, like it's plain sleepy, milk toast, Biffy

(58:16):
still thinking Q Magazine are there in the room talking
to them into hunting season. I'm not what you were
saying about kind of the edge on it. Production on
this album that makes the guitars and drums feel a
lot more sort of like when indie bands like try
and play hard and then the record sounds really compressed,
and then you go, oh, would you look at that?

(58:36):
The producer CV includes the nineteen seventy five Pale Waves
nothing but Thieves, No wonder. The drums sound like shit
on this record. There's the sort of raggedy edge they're
trying to have doesn't feel it. And the fact that
like the Hive just put out a record a couple
of weeks ago of and you know, they're not the
fucking they're not the hardest, craziest band of the world.
But the Hive just put a record of these garagee
type songs and this cannot hang with anything like that.

(59:00):
And then, like I said, the best bit of that
song is when they just do a mused with at
the end of it. I have same problem with stuff
like True Believer and Friendshipping later and that kind of
irksome drum sound and that sort of stock rock feel
that they have. The songs are fine, you know, friendshiping
is fine, but it sounds kind of flat and curtailed.
Little bits where they you know, they have their little

(59:21):
moment of quirk, Like there's one bit in the middle
of True Believer where they kind of stop and do
a sort of like almost barb Obviously, they stop and
do a sort of like barbershopish vocal a cappella bit
with just the three of them, but the energy that
sort of crackles out of the recording is in short supply.
When I was getting to the back end of the
record and really struggling, dearist Demigdala has these kind of

(59:43):
like sudden, little dancing new wave injections, which I didn't mind.
It kind of feels like a much less fired up
cousin of the kind of stuff that Paramol have been
doing on their last couple of records, but there's no
payoff for it. It's not a great or cohesive song.
It's just sort of scant sounds.

Speaker 3 (01:00:01):
Yeah, that's fair. I think like True Believer is one
that live that sounded great.

Speaker 2 (01:00:05):
I realized this one live. I think the sort of
the interesting vocal touches, that's the one that's got kind
of like some of the weird sort of weirdly guitar lines.
That the kind of thing, Oh yeah, that's you know
where you can comparatively say that that that that kind
of angular post argon that Biffy would occasionally dabble in,
little little little like taste of it there. But again
I do agree with you on the production. This is
produced like an indie record where it just sounds like, ah,

(01:00:28):
you've you've not got this sort of the fire and
the bite that when Biffy used to go would.

Speaker 3 (01:00:34):
Make them more interesting.

Speaker 2 (01:00:35):
I think like dearest Amig dhala as they say on
the song, or just something that I like that song.
I think that's probably the highlight of the sort of
the back half of the record, where again they seem
happy to sort of let the odd ball sort of
nature of them tease out a little bit.

Speaker 3 (01:00:50):
And that again that kind of.

Speaker 2 (01:00:51):
Eighties like it's a new wave sort of thing in there,
and that's a fun flavor to.

Speaker 1 (01:00:55):
It, that's in a bit. I remember with the problem.
I remember it going, but I don't remember the the
hook at all because it doesn't kind of come together.
There are two, I think, outright bad songs on this
the where the defense that has been like, oh, you know,
there's nothing terrible on it. There are two terrible songs
on it because they can't help themselves, even on a
celebration of endings, like you said, has an absolute stinker
in the middle of it. They normally have to shoehorn

(01:01:16):
some shit in the first one comes very early on
in the record, which doesn't help it, and you mentioned
it shot one that is rubbish. I'm sorry this rubbish song?
What is going on there? It's grotesque? Why like this
the sickly keys and the horrible like sticky what is
this weird biffy baby voice they've got like this biffy

(01:01:37):
baby in the studio going la la la la? What
is that hook? It's it's horrible.

Speaker 3 (01:01:43):
I can't defend that.

Speaker 2 (01:01:45):
I was like, it is a little bit skinfuling Again,
I don't think it's bad because I think the rest
of the song outside of like.

Speaker 1 (01:01:53):
It's not history it's rearranged as the problem. It's like
you were doing your ship pop songs with rearrange in
twenty sixteen. It's twenty twenty five. Now you don't still
need to be doing rearrange.

Speaker 3 (01:02:02):
I mean, I'm a rearranged truth for.

Speaker 2 (01:02:07):
We've had this argument so many times and we do
this so but no, I'm I'm willing to let your
shit on. I don't hate it, but I understand why
for you because there are parts of that.

Speaker 3 (01:02:20):
Song that are sking crawling.

Speaker 1 (01:02:23):
It's horrible. And then the other bad song a bit
later on is Woe is Me? Wow?

Speaker 3 (01:02:29):
Is you?

Speaker 2 (01:02:29):
You'd hate this one? Like again, I would said this
is the worst song on the album. I don't hate
this song, but I do agree it's it's the weak
it's the weak point in the record.

Speaker 1 (01:02:38):
Yeah, which, aside from being a ridiculous title. You know
what that sounds like? Of all the things in the past,
can of Biffy Kleiro the thing that brought to mind.
It sounds like they're WAP cover but as a ballad,
you know where they there's some beerf in this house?
Why is this sparse, delicate song with string arrangements and
stuff and it's you know, for them, it's this kind
of powerful moment of like, you know, reaffirming them as

(01:03:00):
a band. And you know this thing that we've done
together since we were teenagers. We kind of spread apart
for a bit where now we're coming back together. But
that tuneless backing vocal hook of stick it, Oh no,
it's the first when it goes sticker sticker ol. It
sounds it's rancid, it sounds horrid, and then you get
the well it was me, wow was you? I don't
know how I'm supposed to take it.

Speaker 2 (01:03:19):
Seriously, I can't wait for this to become a fan
favorite just because of how weird those backing vocals are,
and theres some port of Biffy Clara who like to
sort of shout things and a put on Scottish saxon.
Are gonna love that, aren't they? Like?

Speaker 1 (01:03:33):
Instead like it.

Speaker 3 (01:03:35):
Is it's a weird again.

Speaker 2 (01:03:38):
What I was saying about this sum is lacking the
weird Biffy clio sort of thing. There's remember the song
where they bring out in the most ill fitting way
where I'm like, it's this kind of odd ballad where
they're they're they're jamming in these unwieldy backing vocals. This
would be the one that goes because I think if
you then went like from friendshiping Strange, it's chemicals kind
of like upbeat, up tempo fun rock songs. Yeah, that

(01:03:59):
would that would the record better. So again I can't
off on much defense to words me whow as you?

Speaker 1 (01:04:05):
Yeah, those two songs suck and with the unpleasant production
on them combined again with some kind of bad just
like what you do in creative choices. Those two songs.
I get Ellipsis vibes from, you know, and I feel
like some Biffy fans treat Ellipsis as this weird, like, oh,
it was an outlier, but they've never done anything that bad. Again,
It's like no Ellipsis does resurface throughout you know, their

(01:04:26):
later records from there, the other ballads, It's Goodbye, which
I just have nothing in me for that song. It
sounds like there's a lot of you know, sincerity behind it,
but it is genuinely in sound and lyrics. It's about
a half step from James Blunt and then yet A
thousand and one is boring. Two People in Love is boring.

(01:04:49):
I feel like I'm in a room of just cream
wallpaper and nothing else. Your basic sort of bog standard
Biffy Cliro upbeat nights, rock songs like It's chemical those again,
I get white people more tunes to biffywood vibe with those,
I just think they're kind of shrugs this time around.
And it seems like the period of making this album
was more important for them kind of as a band

(01:05:10):
and as people than it is actually translating in the
record that's resulted from that. You know, apparently with with
Simon kind of you know, mainly doing Empire State Bastard
the last couple of years, the other two had been
kind of having time off and apparently getting the gears
sort of you know, starting to go again was a
bit sputtery, and it doesn't feel like they are musically
at their most inspired and flexible. They've gotten back on

(01:05:33):
the saddle, which is an achievement, but they've done it
with a very safe, stodgy kind of rock record.

Speaker 2 (01:05:38):
It's funny because you see the period of merely things
Alm was them kind of like looking back to the
first three albums, So I was kind of like wondering,
is that gonna have any indication of the direction they're going,
and it's like, no, no, they did they they I
don't know if that was just again part of them
sort of getting back on and sort of getting back
as a sort of live band.

Speaker 3 (01:05:53):
But yeah, I.

Speaker 2 (01:05:56):
Again, I think this is a totally totally solid, decent,
like Biffy Claire record, that is it is safe your
it is them just sort of back on saddle. It
is the most like, I think, the most basic I
think they've ever sounded, which I am fine with.

Speaker 3 (01:06:14):
The bass time Biffy Clara sound like I'm attuned to that.

Speaker 2 (01:06:17):
I like that, so basic Biggy Clara, I'm not really
gonna dislike. But I also like this is like a
big player album that's not gonna breach my albums of
the yearless in any in any way, because they just
think it's you know, it's it's nice, pleasant listen. There'll
be a couple of songs that I'll can probably keep
in rotation, but the Amazon whole, I am. I can agree.

(01:06:39):
It is on the lower end of what Beef Clariaen do.
I think they've got a like pretty high.

Speaker 3 (01:06:45):
Floor as a band.

Speaker 2 (01:06:46):
So even though their worst moments aren't are very rarely
disasters and so I think it's keeping in line with
that where I think like Weekly Beef for Clara is
still better than a hell of a lot of bands
of their ilk out there. But it's also I do
kind of go like, yeah, I can understand why if
you aren't really don't be played, you don't like this,
And even people who are in might feel a little
uninspired by this.

Speaker 1 (01:07:08):
Yeah, and yeah, they're thirty years in now as a band,
right and the last time they were about they were
having this really you know, great kind of mid to
late career high. Not every album is going to be
that good, you know, And me saying that this album
isn't as good as those doesn't mean that they don't
still have those potentially in them. But that also means
I don't have to say that every album is that

(01:07:28):
good just because they're Biffy Cleiro. And for me, this
is right. This is right down there with the with
Ellipsis as like the lows of their career that have
nothing going on or suck so foutique Biffy Cleiro out today.
We've also got something that we wanted to cover while
we're here as well, Dying Wish Flesh stayed together. The
third album from definitely one of the key faces in

(01:07:51):
hardcore and metal core since the turn of the decade.
They you know, they started and kind of put themselves
on our radar just prior to that, but since the
pandemic is when we've had a real or like NonStop
flow pretty much a material from Dying Wish Fragments of
a Bit of Memory first album in twenty twenty one,
which is probably still my favorite of theirs, because it's
just such a satisfying slice of that kind of you know,

(01:08:12):
brutal two thousand and two two thousand and three style
metalcore that they just turned out to do exceptionally well.
Symptoms of Survival in twenty twenty three carried that standard on,
and they have in these years, maybe you know, beyond
what we might have expected from them when they were like, oh,
here's a really nasty hardcore band with like, you know,
anti police songs and a not lose feature and stuff
like that. Since then, they've turned into a band who

(01:08:34):
actually bridged some worlds in intriguing ways, where they are
now just as likely to tour with spirit Box and
Poppy as Malevolent and Speed, Right. I think it's quite
cool how Dying Wish have become a band who have
managed to kind of like find their footing in both
of those spaces.

Speaker 2 (01:08:52):
It's exactly what I've noted down there to start here,
Like it's no secrete how much I love this band.
They might be my favorite band really break big in
the sort of the post i'd say since the start
of the decade. I love metalcore, I love metallic hardcore.
I think they you know, when they came up there
and just doing that slice of like early noughties metallic

(01:09:14):
hardcore medical thing was great, And you're right, I think
in reason as they've kind of started to sort of
like crossover where they are popping up on kind of
like some of the more kind of like medicore band
deals that we aren't less into. But what I think
is like is like quite rational with Dan, which is
they've managed to do this whilst I feel they're staying

(01:09:35):
true to themselves. I think this album is kind of like,
can this work on a record? Can you know you
step beyond the sort of confines of metallic cold, because again,
we love this metallic caalk thing, but we you're also
have noticed it's starting to get a little bit creatively stifling.
I think it's fair to say because there's a lot
of bands coming along doing this throwbacks or milk corn now,

(01:09:55):
and I'm happy to blap all that stuff up, but
it's also starting to feel less special because it's so done.
So I think it now is the right time for
Dying Wish to sort of like say, well, let's start
to swing a little bigger, and let's let's cross over
into more kind of like commercial metalcore sort of areas
whilst still keep it true to ourselves. And I think

(01:10:17):
that's kind of what the aim on this album feels like.

Speaker 1 (01:10:20):
It's interesting to hear you describe it as a more commercial.

Speaker 2 (01:10:24):
Well, I don't mean the album is more commercial, but
like it feels like this is them kind of like
stepping beyond just doing the two thousands metallic hardcore thing.

Speaker 1 (01:10:33):
No, definitely, this is a this is a move in
a slightly different direction. But I don't know if I
think it would be maybe a not entirely accurateself to
describe it as them sort of stepping into the bigger leagues,
because I mean, you know, I think here is a
band that we can look at as how do a
metal core or a metalic hardcore band sort of navigate

(01:10:54):
those those worlds right where we have the twin pillars
of on one end you got the kind of optane
core thing, and on the other end, you've got a
million bands doing their angel statue EPs, and as you say,
it's kind of creatively bankrupt. What do you do when
you were kind of between those two pillars and a
lot of those bands, they might stumble into one of
those two kind of worlds that doesn't complement them. Dying

(01:11:16):
Wish are interesting in how particularly with this album, they're
kind of you know, they're they're not making some kind
of ploy for the octane world. Maybe that will come
one day, I don't know, but they do kind of
feel still more sort of too real, you know, and
two kind of grassroots about it. This is evolution sort
of between those lines. The fact that you know, after

(01:11:40):
their early EPs, the first album turned out to be
such a kind of like, oh, this is like two
thousand Star a lot of metalcore. That was a surprise
to me when that album came out, you know, because
I had them again more of a hardcore band in.

Speaker 3 (01:11:51):
That kind of savage hardcore end of the early stuff.

Speaker 1 (01:11:53):
Yeah. Yeah, so it's not like they have just been
totally one trick the whole time. But I did, you know,
I really liked Symptoms Survival, But after that I did
kind of think, like, Okay, after this is the point
where it'd be cool to see if there's more to
this than just kind of the end of heartache. You know,
this is a really good encouraging kind of next step
in that the intro of the record, I don't belong anywhere,

(01:12:15):
the fact that you have got the most like jacked up,
sort of knocked loose or nails even style grinding guitar
tone at the beginning, but Emma over it is pushing
at her most. It's not even just her kind of
like two thousands in melodic metalcorese style delivery on that,
but she's now moving into this kind of like eerie

(01:12:36):
gothy register, almost like a sort of Chelsea Wolf inspired
vocal over that guitar tone. The way she delivers I
persist out of spite at the beginning of that is like,
oh bitter. You know, it has kind of a a
spite in it, you know that kind of makes it
taste a different sort of way.

Speaker 2 (01:12:51):
Yeah, I mean, that's the thing with this is the
biggest changes record is Emma is singing so much more
like she sang on the previous two recD chords, but
it was kind of like select moments. This feels like
the kind of like we want her to she like
of the band of hers.

Speaker 3 (01:13:07):
She mentioned we're going to sing more, but it isn't.

Speaker 2 (01:13:10):
Again, it's not doing the pop metal, octane core, baddy core,
any of those kind of like stars and these sort
of things sort of go to. It is darker and
moodier and gofia and that to me is such a
more interesting sound and it it feels like a kind
of like quite natural aggression where again you're right as
it's playing against his.

Speaker 3 (01:13:30):
Owness on which has this really thick grinding kind of dirge.

Speaker 2 (01:13:34):
Of a guitar iff underneath, like whilst every singing it
still sounds super intense and oppressive. Then and and it
just there is like I said, there is a bitterness
and a spy and an anger.

Speaker 3 (01:13:46):
Even if she is like.

Speaker 2 (01:13:48):
Not screaming, and then once she does, you know, scream,
she still has one of the most like skin peeling,
throat shredding screams in metalcore. I think like that I
don't belong anywhere.

Speaker 3 (01:14:00):
Kind of chant.

Speaker 2 (01:14:00):
On the chorus, it hinges around, is raging and bitter.
It is just like properly nasty sounding. I'm like, yeah,
this is really cool. And again, like the beatdown just
be heard going fuck you in the most are like
pistoff and like spoken to and is like I'm immediately
in on this. I think it's a really great opening
statement to kind of sort of show the new areas

(01:14:22):
we're moving into while still having enough of the core
dying with sound that I just can't get enough off.

Speaker 1 (01:14:29):
Yeah, and this is what again, I think is interesting
about this because you know, when we're saying the record
maybe it will tap to be more commercial, I don't know,
but in terms of its intent, it doesn't feel like
it is a commercially minded record. It feels like it's
really bleak, you know, like it's we are turning all
the lights off. It's got a really desolate kind of
feel to it. It feels like they have gone in with

(01:14:51):
a kind of a bit between their teeth, not necessarily
of like you know, being really aggressive, but of kind
of creating a tone that envelops you. And the record
is definitely it's spookier. It's darker in a more kind
of concern with Atmospheric's way. I mean, the snare does
still medium more than some of the previous records. It

(01:15:11):
still has this really stupid hard or kind of crack
on it that is a nice kind of grounding. So
the song Surrender Everything does do the thing where when
it gets the double bass going, it gets that will
Putney chopper Blade bassed drugs all Ef. I thought he
was kind of proving quite restrained for the most part
on this record, and then that happened and I was like, oh,
you just can't. It's just pushed over that slightly. But

(01:15:32):
around that the melodies they're not quite as you know,
like Torn from Your Silhouette for example, from the last
record is quite kind of heart tuggy and yearning in
that two thousand metalcore way. And you know, we've jokingly
made at times sort of like fly Leaf comparison or
stuff like that, and like, don't get me wrong, I've
loved when Dyeing, which I've done that, but here they're
less like that, and they're either more sort of sadistic

(01:15:53):
like on that first track, or really porcelain on like
something like nothing like you almost reminder are the way
that Rolla Tamassa used like softer vocals sometimes, where this
is like a real four minute slow, creeping doom crawl
kind of essentially, and you know what this is. It's
the rare actual heavier but more melodic. It's kind of

(01:16:15):
they're almost like they're going into the thing that I
want Harriet to be where it's like, you know, gnarly
and moshy, but also kind of creepy and skin crawling,
and like I said, it has a real sort of
deliberateness of an overbearing mood.

Speaker 3 (01:16:28):
Well it is.

Speaker 2 (01:16:29):
It's a much slower record than what Dying With Yeah
definitely typically play at. And then I mean that was
kind of demonstrated by uh oh no You're Not Around,
which was the lead single, which is kind of like
an interesting kind of like, I mean, I get why
that was the lead single because it does kind of
like it's a showcase for what the record is about,
because that's what it is, you know, dark and oppressive,

(01:16:50):
and even when they're again the clean things there, it's
not sanded down it is really I mean, and like
when she's singing sorrow in separation, that's kind of vocal
that I can just kind of like latch onto.

Speaker 3 (01:17:02):
But it is this like really.

Speaker 2 (01:17:04):
Dynamic approach to songwrang where again they've sewed it down,
but they haven't made it stark and stodgy. It's just
drenched in kind of atmosphere and interesting touches. And when
it does go again, I know you mean with that
Will Putney's or blasting. I think this is one of
his best production jobs, and that it is actually in
that he does complement the band a lot of it,

(01:17:25):
and there is nuance in that production and those kind
of moment where it does kind of just like overwhelm
you with the blasting, they're a little bit spread out.

Speaker 3 (01:17:33):
So it feels kind of like rising.

Speaker 2 (01:17:36):
And this is the thing is so like when bands,
you know, they want to know, add more melody or
from that, when they commercialize every element of this how
to make it all popular, the things they're trying to
pronounce more kind of become less pronounce because it's all
just kind of like muddled together because don't wish I've
kind of gone, well, we are going to sing more,
but we're also going to make this slow and dark
and heavier, and it is the heavy one block thing.
Those tournaments, you notice them more because there's such a

(01:18:00):
strong contrast against each other, Like Revenge's Carnage is this
is sludgy metal. Course all of these like bells clang
in the background, where's kind of like there is you
can there's like a doom esque influence on some of
these songs where it does slow down. Novel like You
is all creeping dark mood, and you know Emma singing

(01:18:20):
with that again, that porcelain sort of register. It just
adds so much atmosphere. And when it does, and again
every time it doesn't kind of like.

Speaker 3 (01:18:27):
Blast out of that.

Speaker 2 (01:18:28):
It's these violent releases from these kind of like oppressive
dark passages, and I think it just it keeps me
completely engaged as a listener rather than and it's it's
just refreshing source. So you're going like, yeah, cool, you
have got more strings to you as a band aig
whish rather than just again I would have I would
have happily taken another album of Symptoms of Survivals. It's
kind of like metallic hardcore, but this is just a

(01:18:50):
much more interesting and rewarding route for them to go down.

Speaker 1 (01:18:54):
Yeah, I'll know you're not around. Did kind of turn
out to be a good lead into the record single
because it is that that doomy feel that we kind
of picked up on does cast over it, and Emma's
ability to carry a chorus is becoming more and more
kind of confident where she really holds the spotlight on
that one, and moments I regret as well that kind
of I deserve to be punished hooking towards that it

(01:19:15):
is recontrolled in that regard the song that really kind
of I think it demonstrates in this the cool way
is a curse upon Iron has the first like moss
drop on the record that made me kind of audibly
react to it. Really early on the song is the thing.
It's like, you're about forty seconds in maybe a minute.

Speaker 3 (01:19:32):
Most everyone is a victim.

Speaker 1 (01:19:34):
Yeah that part, and that just brutishly kind of yanks
your neck and it is like really great mosh part.
But because it is so early in the song, the
second half then develops the melody in a really kind
of interesting goosebumps kind of way that then carries into
songs like I Know You're not around and so on.
Revenging Carnes, which you mentioned that has a disgusting kind
of vocal at the start that I thought meant this

(01:19:55):
was going to be like, Okay, this is like the
fast rager on the record, turns it to more of
like when Lamb of God doing you know that really
like mean stinky meaning business kind of groove which empty
the chamber as well another really kind of unforgiving one.
And I think on this record they they know how
to milk a groove for what it's worth. On this one, yeah,
And it doesn't feel like it's kind of in too

(01:20:17):
much of a rush to get to the next idea,
you know, And I think it maybe is kind of
lacking just one maybe like real burst of that kind
of melodethy metalcore speed or whatever to to you know,
kind of round out the package. It's really doomy for
the for the most part. And I think if you
if you like just loved the sound of them doing

(01:20:38):
two thousand and four Kills which engage on Earth as
I lay dying type riffs, then you might like this
record less than they're over ones because it doesn't stick
to just kind of scratching that same itch. But I
just think it's really nice to be seeing a band
finding their way in the modern metalcore landscape. Which is
an unforgiving and bleique place at the best of times,
as we know, and they're managing to navigate not through,

(01:21:01):
but kind of around the various hoops that exist in it,
you know, and sort of organically developing their own thing.
And after the last record was, like I said, you know,
a nice rounding off of what Dying Wish had been
and what they were doing, but maybe felt like they
had more in them this seeing them kind of follow
up on that and actually, you know, kind of take

(01:21:22):
a pivot into something that is a little bit more
unique maybe and not something that many of the bands
out there are doing. Is I think it says good
things about them as a band, and I think it's
it's you know, it kind of enhances their their their stature.

Speaker 3 (01:21:37):
Yeah, I do agree with that.

Speaker 2 (01:21:37):
I mean I still think, you know, this album still
has Surrender Everything and Empty the Chamber if you do
just want metallic hardcore moshers, there are you know, those
two songs at least that still scratch that itch. So
I think it hasn't even lost that. But I do
just agree this is nicely a band can like stay
true to themselves but navigating a way that feels unique

(01:21:59):
and them carving their own path out rather than kind
of like falling into either of the two caps.

Speaker 3 (01:22:05):
And that might add that might alienate some.

Speaker 2 (01:22:07):
Listeners who who want angel statue or octane core, but
I think it it just shows that they are a
band who aren't aren't like willing to play the game,
and they're happy to sort of do what they want
to do, And this to me makes it a more
unique medical record.

Speaker 3 (01:22:22):
There are so many metical almas out this year that
I've kind of just been like, this will one.

Speaker 2 (01:22:25):
Yeah, that's cool. I like that, but it's it's you know,
a one and done. Listen where I've gone. I didn't
have a bad time at that bar. I'm not going
to be reaching reaching for that over and over again.
This is one where I'm going to be going back
to this because I think there is there is textra
and like nuanceing songs that I think it's going to
reward and repeat listens that I'm like awesome, You're you're, you're, you're, you're, you're,
You're experimenting and trying new things, and like the toll

(01:22:48):
track closing records, you know, that goes all in on
like kind of like exploring atmosphere and still manages to
sort of end on the obligatory dirge rift that Ammatallic
Card band has to end their slower album Closed on.
But it fits in the tone and bible of the
record where it doesn't feel like them doing it for
the sake of like we have to do that. It's

(01:23:08):
just kind of the songs and the world they've built
on the record. Ending on a riff like that just
feels like, Yeah, that's the journey you've been on. I
think this is comfortably the most interesting thing Dying Wish
have done, and it just it just saw paints a
nice picture for their future, like, yeah, you've taken up
the people of the bad of like not just doing
the stop things that like bands of you York I

(01:23:29):
don't expect to do now, And you're carving your own
path again, navigating around the landscape and not following any
of the sort of the predecement paths. And that makes
them just like again, just a much more interesting and
likable band who I'm even more behind than I thought
I could possibly be.

Speaker 1 (01:23:45):
Yeah, it's one of the more compelling metalcore records you
will hear this year, that is for sure. So Dying
Wish and Fleshly Together is the name of that one.
Thank you for listening. Those are two records rounding off
their ore September new release coverage and so on. Obviously,
we will be back with another review show somewhere towards
the middle of October. We've got records from AFI, haven't we.

(01:24:06):
We've got Thrice Conjura, quite a lot coming out in October,
very big month, but obviously well before then, we will
be back here again with other stuff we got going on.
We got things cooking. We'll be back next week with
something so cheers everybody for listening, and yeah, we will
see you again next time. Bye bye,

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