Hyperblasts: Revenge of the Stoff

Episode Transcript
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Speaker 1 (00:26):
Hello, everybody, Welcome to That's Not Metal Them. Welcome back
to another edition of Big Bumper Summer hyper Blast. This
is our new show and our weekly releases show where
we let you know everything that's been going on in
the world of rock music and heavy music and alternative music. Boy,
there has been a lot of stuff going on in

(00:49):
the world of alternative music this week, and we let
you know what we've been doing as well in regards
to that wonderful world we all engage with. So cheers
everybody for jumping on here with us. Last week it
was a festival review, wasn't it, because we had Sam's
report from Outbreak Festival Outbreak London. This week is not

(01:09):
a festival review, but we have been to so many
like enormous headline grabbing shows often in sequence that we're
going to basically treat it like a festival review. Like
I had a festival weekend. It wasn't officially build as that,
but I feel like that's what I had.

Speaker 2 (01:26):
Yeah, No, I was saying, like our Saturday Sunday, like
obviously one of those shared but it was like these
we're watching, you know, two massive bands each on kind
of like big outdoor shows.

Speaker 3 (01:36):
It felt festivally.

Speaker 1 (01:38):
Yeah, we not mine went to Monday as well. So
and you know, some of these shows are certainly shows
that people will be curious about in terms of, you know,
being notable events for a lot of the bands in question.
So when I say we're going to treat it like
our festival's review, what we're going to do is we
are going to do the news and releases and the
usual hyperblast stuff up top for the people who want

(01:58):
to hear that the most, and then the bulk of
the episode when we get on the other side of it,
is we are going to talk about what a spectacular
week for live heavy music in the UK this last
week has been. And this is of course before the
likes of a Slayer and Black Sabbath and so on
that are going on this week. But been a busy,
busy time. Let's get into it, and as I say,

(02:20):
starting actually with the news. Actually I suppose I want
to first off ask Sam how many Bruce Springsteen albums
have you listened to? Out of seven so far, I've.

Speaker 3 (02:29):
Got for three of them and I've enjoyed all three.

Speaker 2 (02:32):
I have had to pace myself because I've I've had
a busy old week with all these shows. You know,
I spent all day to day in the cinema watching
Jurassic World and F one. It's been a busy old time,
so I've had to you know, pace Springsteen. But I
will report back, like like maybe after two thousand, finally
finished all seven Springsteen albums, my summer project.

Speaker 1 (02:51):
Apparently excuses excuses, but yes, into actually the news and
one of the other things that happened this last weekend,
the exact same time that we were at the shows
that we are going to talk about Glastonbury Festival, of
course happened. And you know, it could be nice to
just do a nice little like rock and alternative.

Speaker 2 (03:10):
I was proved right about Turnstile being amazing. Well, everyone
loves the new album, like watch the video. Those songs
are amazing live.

Speaker 1 (03:18):
I'm right, Well, in fairness, they only play the really
great ones anyway, but you are quite right. You know,
Turnstile is the feel good story of rock and metal
and so on and hardcore obviously at Glastonbury and you know,
doing what they did going on the massive stage and everything,
and that's the nice all. Yeah, we could just talk
about that, but there's something else that happen a glassabury
that has overshadowed everything and has escaped our bubble into

(03:42):
actual not even just national but to some degree glolo
global news. And when that happens, we have to spend
a little bit time on it. I guess Bob Villain
has replaced Kneecap this week as the flavor of the
month band for conservatives to get mad at and try
and silence. And we haven't even really fully spoken about

(04:02):
the kneecap scenario that's been going on for the past
what like month or a couple months or whatever it was.
We will, you know, have to talk about it a
little bit more in a week or so's time. When Sam,
you are at two thousand trees and obviously their tree
set has a lot of eyes, and you know, maybe
is more noteworthy as a moment than your average trees
headline set could be because of what they have kind

(04:24):
of experienced and what they've you know, gone through over
the last couple of months. But this week the moving
target has moved on to Bob Villain. And believe it
or not, we don't actually like seek to talk about
politics too much and kind of you know, get on
our soapbox every single week. We would much rather just
be silly rock music guys and talk about the Dennis
Stuff story that we're going to move on to in

(04:45):
a bit. But as said, the biggest story in not
just alternative but all music this week has been Bob Villain,
and you can't really report about it in any way
without kind of showing your biases and making your opinion
heard one way or another. So this is the moment
to do it. I suppose you've all already heard what
Bob Villain shouted from the stage at Glastonbury. You have

(05:07):
likely heard by now that not only was there you know,
predictably an uproar about it, but they have since had
their US visas revoked for any touring over there. And
maybe you know, the piece of news and the latest
development as we are talking about this here that kind
of brings us the most home to us and maybe
need some elaboration is Radar Festival taking place this weekend

(05:27):
have dropped Bob Villain from the lineup, and the conversation
surrounding all of this, as you can imagine, has been
toxic to say the least. The first point regarding the
nature of what Bob Villain has said, I am just
going to say this as bluntly and simply as I can,
because the whole thing about this is it's a distraction.
Right By wasting time creating uproar about your kneecaps and

(05:50):
your Bob Villains, it is directing us away from the
real issue. So let's be quick and unambiguous. The IDF
is a force that incredibly spent the week leading up
to glastonbured this and this fallout, actively admitting, in the
case of a bunch of IT soldiers to a bunch
of war crimes, saying that they were being directed by
their higher ups to gun down unarmed Palestinians waiting in
line for food which they have been starved off for months,

(06:12):
because it's an extermination ground over there. And now the
Western media wants you to believe that saying hey, fuck
those guys is equivalent to terrorism. On Glastonbury's part, a
place that has paraded itself as a kind of hub
of countercultural left wing thought for decades, it is shambolock.
The way that they have thrown them under the bus
after this. The strength of language that Bob Villain used,

(06:35):
which has been a big cause for debate here. You know,
it's stronger even than what Kneecap got in trouble for
some weeks before. It obviously does invite trouble and criticism
using that very forceful, violent language that they used. They
knew that when they said it, and the morals and
the acceptability of using that kind of language is up

(06:57):
for debate. But on the smear sing of them with
anti Semitism, Bob Villain said nothing about the Jewish people.
The IDF is a military force of the state that
is doing those things that we've all seen, and any
statement targeting that genocide or military organization is not a
broad attack on the Jewish people. And that equivalence of

(07:20):
any attack on Israel or even more specifically its defense forces,
being attack on the totality of the Jewish race is
exactly what Israel wants you to think, because by tying
its own military actions to that of the entire Jewish people,
they make themselves exempt from criticism, because an attack on
Israel or the IDF would be an attack on the

(07:40):
Jewish people. It is the entire Israeli strategy to look
to represent the entire Jewish people. But as we have
seen from the many, many brave Jews who have said
they don't speak for me. They fucking don't. It was
dishonest semantics obfuscation when Kneecap got it for calling out
what anyone with a brain new to be read as
the Israeli state, not every human being born there. It's

(08:03):
even more dishonest with Bob Villain when the only group
this violent language was used towards is the military force
explicitly doing the mass murdering. They can't get Bob Villain
pulled from festivals by just saying what actually happened and
what was said. They have to frame it this way
to get what they want. So let's dispense with the
lies and the baseless accusations that are the arena the

(08:25):
conservative media want us to play in. Onto radar. They
have had a week no one could envy dealing with
the aftershocks of something that they had absolutely nothing to
do with. They didn't initiate this the week right before
your event, when you are you know, you're already making
your last minute preparations and there's no time to turn

(08:45):
anything around, and then all of a sudden you are
dealing with death threats, and you know Israeli lawyers knocking
down their door, threatening to destroy their livelihoods if they
don't comply with their demands. They have taken a lot
of flak, particularly yesterday Wednesday straight away when they announced
that they had dropped Bob Villain, and the statement they

(09:06):
put out was incredibly short, no elaboration in that statement,
and after a while, because of the backlash, they disabled
the comments from it. There is an interview today or
yesterday as you're listening to this, that has been conducted
on the two promoters one podcast where they explain that
they were essentially put in a position where they either
removed Bob Villain or have their entire festival pulled. And

(09:28):
I think it is easy, particularly again early on yesterday
before maybe some of that stuff came out to act
high and mighty about Radar Festival and what they have
done because their initial statement did not include more. But
I just think and the message that I just want
to put out there is once again it's another distraction
and rather than a bunch of kind of moralistics seen

(09:51):
in fighting and bickering, I'm a better ally than you.
All of this stuff turning Radar into some kind of villains.
If you care about these issues, keep your eyes trained
on the governments and the legal institutions that are forcing
this thing onto people, not the small festivals caught in
the crossfire.

Speaker 2 (10:10):
Yeah, generally can put it by myself, there was you know,
I feel that they with the initial statement, I did
feel like Bob Villain was being left hung out to
dry a little bit, similarly to Glastonbury's piss weak statement.

Speaker 3 (10:22):
Obviously with Radar they have elaborated more. I'm still gonna wrap.

Speaker 2 (10:26):
My head around how they could they They can't put
it out in a statement, but they can go on
a podcast and say it. A little wit mixing was there,
but again they are clearly having a ship storm to
deal with.

Speaker 3 (10:37):
I don't name the position. I don't envy Bob Villain taking.

Speaker 2 (10:39):
Shots at them on his Instagram story because again he
has been thrown to the wolves and left there and
whether they wanted to or not, they've had to do
it for some reason.

Speaker 3 (10:51):
The whole situation is fucked. It is a distraction.

Speaker 2 (10:54):
The entire thing is a media circus that is to
distract from the on dangenocide. It's a horrible situation for
so many people involved, and like at its core. It
is just trying to take our attention away from what
really matters.

Speaker 1 (11:11):
Yeah, And in regards to the statement that was put out,
I think maybe there was a degree of they want
to get the information out there as quick as possby.
I suppose that Bob Villain had been dropped in order
to stop the tirade of whatever you know, flood was
come in their way. And it's difficult to know what

(11:31):
to say, I think to a degree, because these aren't
human rights lawyers, you know, like they're promoters of a
small festival being bullied by bigger forces than them. And
they've said as well that they were they were trying
to draft up and write various versions and whatnot, But
maybe that early on trying to figure out what they
can say without kind of putting their foot in it

(11:52):
more right, Like all Radar I want to do is
make sure that they are okay and get everything off
their back when again that they are not involved with this.
And there's the question of who even can be blame
for it necessarily because they you know, they've said it
wasn't even the venue demanding that they drop it. It was
pressure from outside forces put onto like the owners of
the venue and this whole chain of things that basically
comes down to them as the people who put this

(12:14):
festival and then being demand that they you know, they
boot this one at off the bill. And if you
think about the pressure that they are under in terms
of again like death threats, last minute logistics of figure
out what you're going to do with your festival that
you are, you have however many you know, thousands of
pounds wrapped up in and you have people.

Speaker 3 (12:31):
Bans relying on it, crew relying.

Speaker 1 (12:33):
On it exactly you know, yeah, you have people relying
on it to have the whole thing be in the
blink of an eye in the scheme of how a
festival works, threatening to entirely come off the rails because
of something that you did not foresee and was not
in any way your call. Like I said, this is
the kind of scenario that a promoter might find themselves in,

(12:56):
but they're not trained for it, right, and it's not
the scenario that they envisioned themselves getting into or wanted
to get into when they just booked a band for
a festival, a band who even you know, I don't
want to speak for the promoters of Radar Festival but
they have said that, you know, we booked Bob Villain,
we did not want to remove Bob Villain. Kind of

(13:17):
that the buck hasn't stopped with them, and I think
it'd be very easy again to demand more solidarity, to
demand a stronger statement in regards to what have with
Bob Villain. Hopefully the podcast interview they put out and
describing what's happened can do that a bit for them.
But I think I don't blame them for essentially putting

(13:38):
out a panic statement of like, Bob Villain is not
on our festival anymore. Please, whoever is fucking coming for
us right now, back off, because they have been left
to face the consequences and to take the blame of it.
And I just think don't we as a community should
not throw in this scenario Radar Festival down on the

(13:59):
saw that these people have laid there for them. If
come next year people are still going, oh, I'm going
to boycott Radar Festival because of how they drop Bob
Villain last year. That screened to me of a certain
like armchair activism, where you don't know how much personal
investment or even just fears for personal safety on the
line for these people who just wanted to put on

(14:20):
a rock show, and ultimately it comes down to I
think condemn the bullies, not the bullied.

Speaker 2 (14:26):
Yeah yeah, it kind of goes up saying it like
it is a complex situation, and again it is kind
of scary that, like when you look at what that
external pressure can be and how not like anyone can
be prepared for this insane pressure coming up because of
something a band said, and it is the whole thing
is just really fucked up in so many different ways.

Speaker 4 (14:48):
Keeping a fest of all the fluked Running a festival
is difficult enough anyway, and if you're a smaller festival
like Radar, just keeping that going year to year must
be really difficult these days. So be and to be
put in this situation, not even a full week away

(15:08):
from your fest of all being up and running, your
actual event happening, not even seven days away, I don't
envy them at all, like for something that is just
completely due to a campaign of disingenuous hate and slander,
just this bullshit wave of disingenuine outrage. It sucks everything,

(15:32):
but this sucks. It's bullshit, It's all bullshit. This situation
makes me so.

Speaker 1 (15:36):
Angry yeah, and it's it's a strange moment we're finding
ourselves in because I think, you know, we've been doing
this pocket for a long time, and to a certain degree,
we are assume that when we are here, we're talking
about alternative music and whatnot, and it's not a mainstream
force the way it maybe once was. We're used to
being in a certain kind of bubble, and even when

(15:57):
it comes down to, uh, you know, the serious stuff
we talk about about artists, politics or you know, when
people try and get certain artist y platformed or anything
like that, it's almost we handle it in house to
a degree, right like, as as a culture, Whereas what
we've been seeing, you know, the last couple months, and
I think maybe at its strongest, you know, right now

(16:19):
with this particular story, is the outside world noticing us
and popping its you know, popping its head in. And
you know, there's a difference between us as a culture
deciding who and who not to support or whatever, and
the fucking government, right like, coming in and trying to
silence certain voices. And if you think this doesn't affect you,

(16:43):
if you'd rather we weren't talking about it, well, Bob
villin is obviously going to get in the immediate future
bigger off the back of it, as just as Necap did.
But these types of moves in the media and in
the government utilizing legal muscle to get politically outspoken, are
artists canceled, you know, and then you know, bowing to
pressure from external regimes whatever is incredibly dangerous and alternative

(17:06):
music is in the firing line right because of its
tendency to speak up about these things. And again you
have seen the solidarity express between other artists out there,
maybe other bands who are on Glastonbury or just other
bands in general, just as we did with Kneecap, you know,
making their voices heard and their support of the people

(17:26):
who are again being like kind of targeted with the censorship.
But if again, if you think it's something that you
shouldn't be aware of or shouldn't have you know, thoughts
about and the reason we're talking about it, the very
art form and culture that we are here to cover
as a podcast is in the firing line because of this.

(17:49):
So that is what's been going on with Bob Villain
this weekend. Like I said, what I have a much
jollier time talking about. It's what's been going on with
asking its Andrea this week, who we got an incredible
update on last week's Shenanigan's with the very poorly received
Walktalk performance. Many fans, you may remember, were calling for

(18:10):
Danny Worfs not to step down, and some asked for
the call of Dennis Stuff to the band, and Dennis
Stuff put out a statement which I personally did not
see coming, because I mean, I'm not a fan of
asking Exandras. I've not been. I wasn't privy exactly to
what mun down between Asking Exandra and Dennis Stuff when

(18:32):
that whole in out singer swap scenario happened. But Denis
Stuff has made it fucking known this week by essentially
coming out and actively laughing at Daddy Warfstop's performance, describing
the band as a generally pathetic live band and saying
that this is what they were always kind of like,
and then says he would never go back to them

(18:54):
because he alleges that they owe him around five million
dollars of royalties for the Black album. And I mean,
I was sat in a stadium waiting for a Maiden
to come on when I got sent this thing on
my phone, and I was just giddy because this scenario,
it's almost a decade now, right of the Artha Alexandria

(19:16):
the Black scenario, and there's a particular no place in
my heart for the silliness of it, and a full
decade later almost getting this update of petty bit giness
about it. Right, this is the kind of drama that
we want to talk about, isn't it?

Speaker 3 (19:31):
Absolutely?

Speaker 2 (19:31):
I mean, I'm fascinated about a world where the Black
made like millions in royalties.

Speaker 1 (19:41):
Like it's always us radio stuff, isn't it the Black? Though?

Speaker 2 (19:46):
Yeah, come on, I'm sure I genuinely believe the band
have we've held royalties from him.

Speaker 3 (19:54):
I find that part to be extremely believable.

Speaker 2 (19:58):
But five million dollars like, like that's just his share,
that's one fifth of the album's royalties, supposedly.

Speaker 3 (20:09):
Like come on now, Like I mean, Joe about this.

Speaker 2 (20:14):
I didn't even realize Ben Bruce had left asking Alexandra
until I saw how all this jum was playing.

Speaker 3 (20:18):
I was like, I thought he was like the guy.

Speaker 2 (20:20):
Yeah a couple of years ago, like generally how tuned
out of this band I have been? But I'm so
here for Dennis Staff, like getting his revenge, like.

Speaker 3 (20:34):
By getting to laugh at I mean, he's not wrong.

Speaker 2 (20:38):
It's what they've always been like live but yeah, just
like this is the kind of like silly petty scene
beef that I think is quite funny.

Speaker 4 (20:48):
It's so I just to live vicariously through this, just
like the idea of being fucked over by a band
and being able to go, yeah, guys with that guy.
They've always been fucking wank. What are you talking about?
The only time they were good was when.

Speaker 3 (21:04):
I was in the band.

Speaker 1 (21:05):
Like, he comes out of this looking so good, doesn't it.

Speaker 4 (21:09):
I'm sorry for using you as a punch wine for
a decade, Denis Staff. You do off my cap to you, King,
I will paint your nails for you. This is the
best news I've ever heard. I am obsessed with it.

Speaker 1 (21:23):
Yeah, Like I did a an Eights out of Awful
many a year ago where my d was Danny Walsknop
and Dennis Stoff referring to the revolving Door saga. I
officially retract Denis Stoff from the entry. It's just.

Speaker 3 (21:46):
Literally go off, pea King, Like It's all you can say,
isn't it.

Speaker 4 (21:51):
I mean they need a new singer now, whose name
also starts with d hopefully who maybe can sing? Maybe
can who? Well for us, Alexandria doesn't matter. If they
can sing, you can be their singer. Fuck it, I'll
put my hat in the ring. You're asking Alexandria a singer.
I'll put more energy in.

Speaker 1 (22:09):
Yeah. And then the other week story in ship Housary
is green Day bringing up a fan on stage to
play good Riddance Time of My Life, with them giving
him the guitar and then ejecting him from the stage
when he started playing Wonder Woman.

Speaker 3 (22:25):
That's an incredible.

Speaker 2 (22:26):
Bits Again, that's going I'm fighting, deary.

Speaker 3 (22:31):
It means reject him, and come on, Billy looks so mad.

Speaker 1 (22:36):
He looks so mad, he.

Speaker 3 (22:40):
Is so good.

Speaker 4 (22:41):
When the kid starts properly playing wonder role and he's
just like a fuck me.

Speaker 3 (22:45):
Yeah, oh my god.

Speaker 1 (22:47):
He quite violently grabs the acoustic guitar around.

Speaker 4 (22:53):
It's like, I don't know, it's the fact that it's
for good Riddance Time of your life, like not the
sappiest fucking song ever. It's just so not serious. It's
not that serious, Billy Joe. It's not like you're putting
fucking stairway to Heaven or something.

Speaker 1 (23:10):
No, well, it's the two stereotypical white guy in the
corner at the party with the acoustic guitar song. So
I can totally understand the I guess the stream of
not mixing the two up, but swapping oney in for
the other and making a bit of a again a
joke about it. This is what happens when you have
your lame crowd participation bits and you invite someone and
suddenly the success of the show rests on the shoulders

(23:33):
of someone who has not been briefed on the whole show.
It's a wild card element and sometimes it's gonna go wrong.
But this guy has a story forever being the guy
who made Billy Jo Armstrong so mad that he kicked
you off stage after you started playing wonder Wall with
his guitar. That this is eternal kudos, isn't it.

Speaker 4 (23:52):
It's a miracle that hadn't happened before.

Speaker 3 (23:54):
It's just it is.

Speaker 2 (23:55):
Yeah, it's one of those you know you're gonna that
is bragging, right, That is just and shit, how is we?

Speaker 3 (24:01):
And it is not that deep, but it's just I
think it's.

Speaker 2 (24:03):
Funnier that it played out the way it ended up
doing with Billy Joe had the meltdown over it and
didn't just kind of laugh it off and kind of
go ah, you got me their kid.

Speaker 3 (24:11):
Now Jo properly.

Speaker 1 (24:13):
Yeah. The Food Fighters have released two tracks in the
last week. One of them is a cover of minor
threat side at one here fuck Yeah. Interesting thing about
that is the instrumental was apparently recorded in nineteen ninety five,
so around the time of the first Foo Fighters album,
and the vocal track has just been added by Dave Grohl. Now,
so you're hearing Dave of I guess if it was

(24:34):
around ninety ninety five, that's the one that Dave did
all by himself, isn't it. So yeah, I guess this
is a one hundred percent Dave Groll track, but thirty
years apart. Sure, why not finish a project thirty years
in the mating that lasts one minute twenty seconds long.
And then the other track they put out is a
new song called Today's Song, and this is I could

(24:55):
were curious. We were discussing with this sam just before recording.
There's no announcement of an album or anything with this
right now, and we're not entirely sure. I guess does
this mean a new Is this like an off cut
or like an epilogue shall we say to the previous album?
Or do we have new Food Fighters in coming? Because
as a standalone as a single right now, it's it's

(25:18):
quite you know, it's it's perfectly nice and pleasant in
the way that current Food Fighters is. But I would
say if it was a lead single from an upcoming
new album, it's a bit nondescript and low key, isn't it.
So I'd be surprised if it was.

Speaker 4 (25:30):
Yeah, there is a new record, because last year when
they were doing all the big stadium shows, they were
playing a new song that wasn't oh okay, and they
were talking about they were writing a new record and stuff.
So I think, well, obviously we don't know, but I
think there is an album coming at some point.

Speaker 3 (25:54):
Yeah, I would like My discussion was that one.

Speaker 2 (25:56):
I guess this is kind of like a precursor to
the album anounced something. I was a bit I was
kind of not sure to expect because the last Food
Fighters album was, you know, the last Free Fighters album
since Wasting Light that I really liked, So I was
kind of like hoping, you know, like they can carry
that good will. I mean, this is you know, pleasant enough,
it's decent. It is a bit like forgettable is my

(26:18):
own thing. Like it's not terrible, like any like medicine
at midnight, the worst of for that or anything. But
I was just kind of like, yeah, this is, you know,
a kind of bright, pleasant sort of summary food Fighters
rock song.

Speaker 3 (26:31):
But yeah, maybe it would make more sense if there
was now announcement.

Speaker 2 (26:34):
You kind of go like, you can see a track
list where this would fit in or something, but by
itself it is just kind of.

Speaker 1 (26:38):
Like there, Yeah, I can't entirely see where this food
Fighters song fits in right now, but I guess maybe
a food Fighters record coming. Then we have a new
track and I've put this one in just for you. Sam.
A band who I don't know if we've ever spoken
about on this podcast, but they have been a feature
of our lives for a long time, a band called
Rise of the north Star, and this week they became

(27:00):
the latest of I guess metalcore, a hardcore band in
the ongoing stream of Landmarks Collabs Landmarks getting around absolutely everywhere.
But Riiser, north Star and Landmarks both French bands, right,
so it is the French metal core coming together. And
I just thought this was amusing that Rises of the
north Star are again a band who have been for

(27:22):
a very long time, and there is something of you know,
a certain era comes to mind when I think about
that band, and I love the idea of that band,
you know, enduring so long that now they are doing
the thing of Landmarks collabs and they have put out
a track that is called back to Basics. And if
you don't know Risers the north Star, it's a bit
more sort of rap metal elyite than you might expect
from your average Landmarks crossover band. We've got French rap metalcore.

(27:47):
But Sam, are they still doing the anime thing? Is
that their thing still?

Speaker 3 (27:51):
Yeah, they're still very anime theme that It's one of.

Speaker 2 (27:55):
The things that drew them, that drew me to them
when I know, getting into hardcore in twenty twelve, twenty five,
and I saw there was an anime themed hardcore band
of a song called demonstrat my sire style.

Speaker 3 (28:05):
I was drawn to that I've always had I've got
for them.

Speaker 2 (28:09):
I mean, this song is you know, Rise of the
north Star with a shitty metalcore chorus sort of stapled
into it.

Speaker 1 (28:15):
It's not the worst one it's.

Speaker 3 (28:17):
Not the worst.

Speaker 2 (28:18):
Again, I don't think the landmarks are the worst of
that whole, but it is still a bit more kind
of like wetter than they us.

Speaker 1 (28:25):
You know what.

Speaker 3 (28:25):
Was also usually kind of just like.

Speaker 2 (28:27):
Big dumb, bouncy riffs and kind of like occasional rap
bits and just very kind of like chest beaty. This
is a little bit less kind of like in your face,
and they usually are. But you know, yeah, landmarks are.

Speaker 3 (28:38):
Everywhere right now, so get used to it. You know what.

Speaker 4 (28:44):
I hadn't heard Rise of the North Star in about
ten years, and I listened to this and I just
I was like, ah, oh, lovely, this is great. I
just I didn't even like clock the landmarks thing. I
just listened to the song and with a big smile
on my face, like, yep, that's the Rise of the
North Star.

Speaker 1 (29:03):
Yeah, you know again, I'm happy to see him frithing
and I'm happy to see him coming back.

Speaker 2 (29:07):
They are like legitimately like big in Europe and just
nowhere else in the world cares apart from like me
and about ten other people over here, Like.

Speaker 1 (29:15):
Well, I'm happy to see them again. You continually get
in their their piece. The pie in the modern landscape.
So that's good. This is actually just purely popped into
my head because we're talking about that era. I forgot
to put it in the script. I guess we should
mention Cross Faith this week. Have they've and as they've
gone a hiatus for the moment, haven't they? And I
don't know how long as hiatus will be. And it
is prompted by unfortunately, a member of that band has

(29:37):
been removed from the band because of allegations of the
kind that you are most likely well aware of by
what I'm inferring by that. But and Cross Faith, you know,
to their credit, they very swiftly acted and that guy
is no longer in the band, but they have said
that they're going on hiat So I don't know where
this means. Again crossfof have to regroup, but you know,
Cross Faith temporarily sidelined, hopefully at least because of you know,

(30:01):
unfortunate shady stuff. But yeah, that just spread to my
mind as well. There let's get back to new music.
Crypt Sermon. If you were a fan of their record
last year, The Stigian Rows fantastic doom metal record, they
have got an EP coming out on August. The eighth
called Saturnian appendices, and I presume the word appendices there
refers to the idea that this is a you know,
can continuation and wrap up of that kind of record.

(30:23):
But love that, so happy to get more of that.
And Gorguts have I think we've been aware that they
were working on stuff for a long time, but there's
such slow progress with that band. It does take years.
Gorguts this week were like, hey, yeah, we're actually like
writing and recording our album right now. We're hoping to
have out in twenty twenty six, so right after we've
done our album club on their last full length album,

(30:43):
Colored Sands, it's nice to get our manifesting powers back
and have another something like that to look forward to.
So new Gorguts coming soon. Architects have announced a European
tour with Landmarks again. Of course they have to have
landmarks on the European tour and President is going to
be open for architects on the European tour.

Speaker 3 (31:03):
Impressive commitments to the most flavorless bills.

Speaker 1 (31:05):
Like yeah, over in the US, equally you know, equally
heavy ulcer Rates are going to be going out there again.
Alight from New Zealand, so whenever they make it to
somewhere in the Northern Hemisphere, it's like, yeah, awesome, go
and see them, and they're going along with Spirit Possessions.
That's two bands I saw in Scarborough Fortress, Vestal recently.
Good bill if you want to see those bands in

(31:27):
the US that's happening in October and November. And then
finally in the news, I wanted to talk about Vince
Neil of Motley Crue this week. Who I don't know
if anybody's seen Vince Neil's Twitter out recently, but below
a photo of a clearly AI generated hotty out there

(31:47):
saying can I send you the Nu D version? He
just replied yeah, no, h even on the air just
year and it got me thinking it must be so
confusing being in Motley Crue and being told that boobies
aren't real because there's there's nothing those guys could love

(32:08):
more than boobies, and the idea of like, I don't know,
it's suckering in members of Motley Crue with not even
real boobies. It's heartbreaking what AI is doing to our elders.

Speaker 2 (32:21):
I'm just I'm all that like horny old band guys
trying to like find their way in this in this
new world of AI generated boobs like couldn't be me.

Speaker 4 (32:34):
It is a pretty good grift though. If you could
get sort of in the sights of Brett Michael, who
knows what you could do, you could probably get a
few queens.

Speaker 1 (32:46):
Yeah, so I hope Vince Neil finds his way home soon.
Let us move on to the releases for this week. Again,
such a busy period. We got a whole bunch more
to talk about, So we're just gonna get drumps straight
into the release round up and well, I guess we're entering.
You know, July tends to be a little bit more
low key with summer releases and stuff, so not the
largest released week. There's a couple from last week I

(33:09):
just want to mop up. One was a surprise release,
which is why we didn't feature it. But Higher Power
just put out there into the world last week their
new album called There's Love in This World If you
want it? Sam, are you a Higher Power fan? Have
you heard that record? Yeah?

Speaker 3 (33:22):
No, really good. I had no idea what's coming.

Speaker 2 (33:24):
Like they've obviously been back on the touring thing for
a while, but like no news and music and then
just bam, new album out there. I think it's wicked
if you like you again, kind of rock tinged, hardcore,
higher power, still doing that really good.

Speaker 4 (33:37):
I just really enjoy it. I have listened to it
a few times.

Speaker 1 (33:39):
It's a big summer record, very nice. And then also
I just didn't realize this was coming out last week,
but the pig Pen album called Mental Madness, which is
the hardcore band with Wade McNeil and that guy from
The Bear and I know that there was discourse in
hardcore circles about them, but you know it's those guys.
Sure fine, new pig Pen record out. Then today, the

(34:01):
fourth of July, we have got very I don't know
is this appropriate for the fourth of July. It might
be drop Kick Murphy's are back with a record called
for the People. And then, like I said, not a
lot of releases of note this week, but a couple
I want to shout out. One comes from Witch Hazel,
who are a sort of seventies style heavy metal band,
good I believe that from the UK, with a record

(34:22):
called five as in the Roman Numeral Lamentations. Then the
great Australian post rock band We Lost the Sea have
got a new album out called a Single Flower, a
sort of krusty dB type record from a band called Stygion.
This is a debut record I think called Dreadlands. And
then we've got an EP of I Guess or Stone
of Doom from a band called Galpa which is called Fear.

(34:44):
So that is the releases and the news round up
for this week. Like I said, we have got a
lot more to talk about because the last week has
been booming for not just shows, but really big, high budget,
expensive show If you went to all these, yeah, probably
skint during the club. We have got to talk about

(35:05):
over the next little while. Big shows from the likes
of Death Tones and Iron Maiden and Lincoln Park and
King Diamond came around there at the end for good
measure as well, and collectively between the three of us,
we were all, you know, crossing over at various of these.
So we're gonna talk about them. We're not gonna do
them in strictly chronological order, because like I said, they're

(35:26):
sort of cross cutting and weaving and so on. We're
just gonna sort of put them out there in a
rough order, maybe bookend with the ones that are slightly
more and they feel like the stories. But that's what
we're gonna talk about for the next I don't know hour,
whatever it turns out being. So we are going to
start with that in mind with the show that took
place at Crystal Palace Park on Sunday of last week,

(35:47):
which was death Tones on a bill that also featured Weezer,
Hive's Health and Ken Dresser or Quen Dresser. I assume
it's Ken. But that was a much anticipated show this
year because not only was it a big bill, not
only was a big London day out or whatever, but
deaf Tones were playing well. I guess has to be

(36:09):
the largest headline show they have done in this country.
I don't know how large. They're sort of you know
dios deaftones thing that they do over in America is
we were discussing this Sam like do you think this
is bigger or smaller than what they do over there?
But it kind of felt like we got an entry
of that. Basically, it was a big deaf Tones curated
show and it is the latest in a line of

(36:30):
shows of bands of that ilk and generation pumping for
big outdoor type shows and if we have seen, for example,
corn make the leap from doing those up to headlining
Download this year. I think there are a lot of
eyes on other bands of that category doing similar things.
So Deaftnes and friends at Crystal Palace Park this week, Sam,

(36:56):
you and I were both there and it was good?
Was it?

Speaker 3 (37:01):
It was good?

Speaker 2 (37:01):
It was its a weird one in a lot of way.
He's just like I've not seen Deathtones for a couple
of years, and good lord, it felt weird being old
at a Deaftone show. Something like the shift has happened,
and it was just a kind of surreal. They have
like crossed over to gen Z like it is No

(37:22):
definitely is a longer band for like millennials who take
their music like way too.

Speaker 3 (37:26):
Seriously, Like the change has happened and it's.

Speaker 2 (37:30):
How they can then sell out something like twenty odd
thousand tickets in a day. Crazy moves by them. But
it was for all the odd things about that, it
was a grand old day out.

Speaker 1 (37:39):
Yeah, I think just to put a pin on that
Deaftones have gone from I don't know, Radiohead for Grebes
in the early two thousands.

Speaker 3 (37:48):
Sent me to say too seriously as I say.

Speaker 1 (37:50):
Yeah, you know, the new metal World's equivalent or something
like that too. Essentially the godfathers of Baddikore and the
the the you know, but you laugh, but that's what
it is, right. It's like that generation and that category
of bands who have obviously you know, their influence is
cast so large over that generation of bands, and so

(38:10):
the demographic of fans who have you know, entering heavy
music with those things. Deathtones are one of the elder
bands who might be put in front of them, right,
And it was I agree if so. This was actually
for me this was my first time ever seeing Deafthtnes.
I've been a fan for I guess coming up on
around fifteen years, but I just hadn't been put in
the you know, the kind of the vicinity of them

(38:31):
to go and see them. So this was for me.
It was like, oh, this is a perfect time, you know,
with this big bill and everything, to actually just go
and tick that one off for myself. But I think
you could certainly tell that the crowd for this deaftone
show is I imagine probably similar to what like the
younger crowd at Download this year would have looked like.

Speaker 2 (38:51):
Right, yeah, I absolutely agree, it was, you know, dare
I don't want to say a TikTok crowd, but it
was a sort of like say younger kind of like
more gen Z leaning, like alternative crowd, and that is
just a very different thing to every other time I've
seen Deftones.

Speaker 1 (39:10):
Yeah, just note being a younger crowd. It did mean
it was a phone crowd.

Speaker 2 (39:14):
And I was saying this for a point for that,
like I am not a I do know a fore
with people recording videos at shows, I do it. You know,
get your minute of a song or whatever, and that's
cool every song, every song.

Speaker 3 (39:29):
There was some people from me, I was like, Jesus Christ,
do we need to sit every song?

Speaker 2 (39:33):
And again like I don't want to tell how to
enjoy shows, but that was eye opening, Like there was
there was a.

Speaker 1 (39:37):
Girl in front of me who was filming the screens
right on the side of the thing, and she was
continually filming to the point where she was like filming
like a minute long video, and then she would press
the stop on the record and then immediately start and
get another minute of just the next bit of the screen.
And I'm like, yeah, who is gonna watch your screen

(39:59):
recording a screen of what is actually happening? Or just
like alien to me, I will people have to tell
people how to enjoy the show in that recard, don't
do that.

Speaker 3 (40:08):
But I agree, But it was just yeah, like weird one.

Speaker 1 (40:11):
Yeah, but it's obviously a positive seeing a band like
Deftoned go from what you could have generally called a
sort of upper mid tier big heavy band, right like
you know, a big beloved band, but not a festival headliner,
transcending you know, their kind of era to then become

(40:33):
what again, this might as well have just been a
big day festival in London and it could act as
a springboard to take them on to further things. I
would personally put money that it would. But Crystal Palace Park,
if you're interested, it's something like twenty six thousand. It's
just over twenty five, yeah, isn't it.

Speaker 2 (40:51):
I was sure because like again when it got announced,
you know, I thought it a big outdoors shot, and
then it's sold out the days, like, oh, is it
the like ten thousand, yeah, Crystal Palace Bowl or something
like that. Because again it's sort of so quickly that
if I was like, death Tones aren't going to be
shifting that many big outdoor show tickets in a date,
they are like, yeah, they fucking are.

Speaker 1 (41:10):
It was sold twenty six thousand people.

Speaker 2 (41:13):
And it's like, say, the site is kind of this
like long like not a valley, but it's like a
long sort of corridor that you're you're.

Speaker 1 (41:18):
In Long Park. Yeah.

Speaker 3 (41:20):
Yeah, it's stretched, well the sort of some means.

Speaker 2 (41:22):
It's like like I say, it's like a corridor and
it stretches back and it's stretched.

Speaker 3 (41:26):
That crowd went.

Speaker 2 (41:27):
Far back like and and like I say, was there
for death Tones like other bands that might have, you know,
sweet the deal for some people, but this was you know,
twenty six thousand deaf Tones fans.

Speaker 1 (41:41):
Yeah. I agree with that actually because obviously there were
some of the bands who you know, they got decent
sized reactions, but it was so clear that death Tones
was the headliner. It wasn't the in my head. I mean,
obviously I knew death Tones weren't over them, but I
was like, oh, it's death Tones and Weezer as a
wonderful package, right, But it was death Tones, like people
were there to see for in death Tones, it was

(42:02):
very warm. It was you know, a big outdoor park thing.
There were similar things that we were discussing without break
maybe with you buying your water in your cans and
all of that kind of stuff that goes on that
maybe presents an issue, but generally it ran very, very smoothly.
It was a fairly pleasant park to be in outside
of just the swelteringness of it. Let's talk about the act.

(42:23):
So the first one again was a singer called Ken
Dresser with a cute and I had never heard of
her before, but it's a very deaftnes thing of as
you could imagine on again like their Deathtones festival, they
do let's get like a local R and B singer
basically to open up a day of heavy bands. And
so that was that, and it was pleasant enough and
I probably wouldn't have seen it if I'd not been

(42:45):
at that particular show. So nice. The first band that
was really relevant to us is Health played and Health.
I like Health. I would say they were decent. I
think big outdoor thing for them, and maybe compounding some
of the reasons I only like Health rather than being
a huge fan, which is not a lot of dynamics right,

(43:08):
and a lot of kind of songs that sort of
stop at a certain point of how like big and
anthetic they're really going to feel because they're existing and
that sort of like slightly weedy. I think that they do, yeah,
but uh, you know, solid showing.

Speaker 3 (43:24):
Yeah, I do like Health quite a lot. I think
I've seen him twice now.

Speaker 2 (43:27):
They are much better suited to a like dark atmospheric
club sitting where they can like bathe the thing in
smoke and red light and build an atmosphere that that
does add to these kind of like really hypnotic droning
kind of like pulsating industrial songs. They've got, you know,
a couple most with like the Rift did really punch
through live. I think feel Nothing is a like legitimate

(43:49):
like kind of like as close they got to a
big hit again with the vocal thing, it always kind
of means I don't think you say it's like a
bang on because it is quite like.

Speaker 1 (43:56):
I would say that is like their one real hit.

Speaker 2 (44:00):
Yeah, like probably would agree, But there's still thing, you
know where they almost are deliberately underpowered vocally when then
it's all about the beats and the rifts that kind
of like smash you.

Speaker 3 (44:09):
But I enjoyed Health.

Speaker 2 (44:10):
I've thought like good pick to sort of open or
like play early on on a deaftone show like this.

Speaker 1 (44:16):
Yeah, I find them a little bit static, I think,
particularly again watching the front man who's playing guitar, and
it's like we saw Nurnish Nails two weeks ago, right,
We've just seen the real one, and we've seen how
that kind of industrial show can feel so incendiary, like
almost like a punk band is playing it at times,
and Health don't quite get that, but again perfectly, you know, pleasant, enjoyable.

(44:40):
High Vis was the first great set of the day
because High VI's are one of the best bands in
this country. I was really happy to see them added,
as you know, support onto this and again you would
maybe imagine considering the crowd we were describing being at
this Deaftones thing, High Vis do come from the hardcore

(45:00):
side of it, right, and obviously they are a band
who you wouldn't say they're sonically married to hardcore or
have no crossover out of it, but their crowds tend
to be hardcore crowds. So this was more of an
opport you need to just get up in front of
people who maybe don't know who this band are.

Speaker 2 (45:16):
Yeah, I mean it's funny because like they are just
playing you know, big NICs influence Locchins, but you're watching
band up on stage when the vocalist is too step
in and.

Speaker 3 (45:25):
He said, what are the fucking watch that and stuff
like that.

Speaker 2 (45:29):
I was like, yeah, no, this is a this is
a harder band, but I mean this is a call
up to you for them. This is like, this is
one one of the first times of them really stepping
out of you know, that kind of hardcore.

Speaker 3 (45:39):
Like seeing where they're now royalty in UK hardcore.

Speaker 2 (45:42):
They are like so well regarded there their shows quickly,
they're playing great most like rabbit sets of the weekend.
This felt like them kind of like, you know, okay,
now can you do it on a big outdoor festival
stage playing to not the hardcore faithful?

Speaker 1 (45:56):
Yeah, And I would say for the most part it
obviously worked for that to what you were just saying,
just said. The best thing you said was he went,
this one's for all the little scallies and I was like,
that is those one plea scalloping said on his stage,
particularly in London. That was brilliant. But yeah, like their
songs from like well I guess you know, three albums
now and they were doing you know, like choose to

(46:16):
lose at the very end, as they often do. But
the last two albums particularly have felt like they're built
form something like that, as much as they are built
for people to jump over each other and go mental
and you know, the likes of Guided Tour and obviously
Trauma Bonds and opening with talk for Hours as they
always do. Uh, it was really fantastic. I think Graham

(46:38):
is very magnetic as a front man in terms of
like he he is impassioned when he speaks, you know,
between songs. I think people are drawn to him and
you know, can feel like they' getting behind all the
things that he's saying. And even you know, at the end,
I'd forgotten because he mentioned that, like he was like
I nearly died recently, and I'd forgotten, Like a few

(46:58):
months ago they'd had that US tour that they'd canceled
because he needed to have you know, some urgent health
procedure whatever it was.

Speaker 3 (47:06):
I noticed, like he when he had his shirt off,
there was a scar on his chest.

Speaker 2 (47:10):
Now yeah, I was like fuck, it clearly was like again,
but it clearly had some really bad conditioning. Like glad
sees pulled through seemingly and can kind of like channel
that on stage.

Speaker 1 (47:23):
Yeah, and I'd forgotten about that that that instance. But
I guess this sort of little run of shows they
were doing this week because they supported Death Toones in
that Halifax as well, would have been some of their
almost like comeback ish shows. And just so you know,
in terms of like are they up and running at
full speed again, and that I would say on the
strength of this, yeah, and I'm looking forward to seeing that,
you know, continuing on because ives work were great onto again.

(47:48):
They were not co headliners. They certainly were not greeted
as co headliners, but in my mind to some degree,
they weren't co headliners. It was the package deal. Weezer
were up next, and it was not my first time
seeing Weezer, but it had been a minute. And Weezer
did what I guess what you would expect them to
most safely do in this scenario, with there's always possiblity

(48:10):
of a Weezer that they would not take the safe option.
I think here they knew it's not their crowd, it's
not where their bread is buttered. They did very similar
thing if you watch their glasson Reset this weekend, they
turned up and they played just under an hour of
only hits basically to the point where I think there
was nothing played released after the Red album, which part

(48:33):
of me is, like, I love white so much. I
would even take, you know, something from Van Weezer or whatever,
a Mexican Fender anything, right, please just throw a California
kids in throwing King of the World something. But it
would like fucking back to the shack. Maybe I should
play guitar and Pat should play the drums. Whoa. But

(48:56):
the Weser set list, as said, it was just under
an hour of hits. Nothing after the Red album obviously
concentrated around the the oldie classics, and boy if that
isn't a great time.

Speaker 2 (49:08):
I mean, like the deepest cut you probably got was
like Dope Nose, which was that was quite a fun one.

Speaker 3 (49:12):
To sort of get off as well.

Speaker 1 (49:14):
But yeah, no, like that threw me because in the
bridge he put in trouble Trouble Maker.

Speaker 3 (49:19):
I enjoyed that.

Speaker 2 (49:20):
But yeah, like We's are basically kind of like alternating
between playing you know, a big hit off.

Speaker 3 (49:26):
Any other album and then thrying out.

Speaker 2 (49:27):
A blue album hit like you Got My Name is Jonas,
no one else South Fax America, undone like all in
the s the first half of the set. Nice amount
of pinkda like representation, which I'm always, always, always going
to be happy for. I think they clearly know that
Deftonions fans are sickos who want the.

Speaker 1 (49:45):
That was funny. They had a little little bit of
crowd banter and stuff and Scott Scott, my wife was
recently shot by the police. Striner was like, well, it
looks like all the hot chicks are at the Death
Tone show. It's like, okay, yeah, So they open with
hash pipe, so walk out, yeah, fair good, straight into

(50:07):
my name is Jonas as you say, uh no, I
was a bit sad we got no in the garage
or no the world has turned and left me here.
But they played almost all of the Blue album, so
is what it is. And again maybe at that crowd
you could imagine the sort of like I don't want
to say the meme Weezer songs, but like the Weezer
songs that will have have become part of Internet culture

(50:30):
to a degree, so like Beverly Hills and Island in
the Sun and those kind of songs. Obviously, at the
very end they close with saying it so into Buddy
Holly and those just got you know, enormous reactions. People
were going off for it, and I loved directly in
front of us there was like three guys all with
their shirts off or with massive blue w's painted on

(50:51):
their backs and they were.

Speaker 3 (50:52):
Just their chest as well. I think it was like
like mir right.

Speaker 1 (50:55):
Yeah, they were like take it on turns to get
on each other's shoulders and just show off there their wchess.
That was great. I loved Rivers just walking out and
being like, hey, this is a huge Cancert. We had
no idea, Like they've just played Glascy the day before,
and I guess they thought they were just playing the
fucking Bricks and Academy with dev Tobes or something, and
they're like, what the fuck is twenty five thousand people?

Speaker 2 (51:16):
Like ten thousand people in some like yeah, fairly big venue,
but like again it was huge mental stage show.

Speaker 3 (51:22):
Can you just point out.

Speaker 1 (51:23):
Like that they're aliens.

Speaker 2 (51:24):
Yeah, like it's all space themed, but then there's just
every none and there's just this weird potato AI and
that would just pop up as like a sort of
central character to it, and it was like really weird
but quite.

Speaker 3 (51:35):
Fine at the same time. But yeah, just like hits.

Speaker 1 (51:38):
Yeah, I guess that's the what's it called the Voyage
to the Blue Planet.

Speaker 2 (51:43):
That, because you know there was all like there was
a blue planet that you'd go along, well yeah, big ws.

Speaker 1 (51:48):
But basically the screens behind them was we were on
the Weezer spaceship going through the galaxy as it went
through all these destinations at each song like that was
a lovely like island holiday resort planet during Ireland in
the side into holiday.

Speaker 2 (52:04):
Island, and then there was literally the sun like burning
around it, which was like.

Speaker 1 (52:09):
Yeah, you say, you say the Pinkton representation we got?
Was it? Why bother? The good life and El's.

Speaker 3 (52:15):
Scorch Show was going to be very very happy to
see live.

Speaker 1 (52:18):
Yeah, And I watched their Glastonbury set on I Player
and it was the same, except they didn't play el
scort Show. They played You Gave Your Love to Me
Softly instead, which is the B side to ELL's Gort Show.
Isn't it so just that one song going from the
side to the B side between the sets, But otherwise
it was there the same. Yeah, really good time. I
liked as well the the sweater song, the little talkie

(52:39):
bit at the start, I forgot they do this because
I've seen Weser once before, but you could imagine them
doing that talky bit just over a tape or something
and no one would question it. But it's Scott and
Brian just like ad lib conversation to each other from
across the stage.

Speaker 3 (52:54):
Show.

Speaker 1 (52:55):
Yeah, it's like, hey, I'm here a crystal palace man,
what's going on? Doom Doom do? And that was fun,
you know, obviously changing Beverly Hills to Crystal Pearl.

Speaker 3 (53:03):
And having the way to reach the top of the
charts in pork and Beans.

Speaker 1 (53:07):
Yeah, that's all fun. It was a very fun time,
just again a wonderful sort of fifty five minutes or
so of just incredible rock songs. I wanted more of them,
but that was that. Deathtnes played for probably like ninety
two one hundred minutes, right like it was a full
on headline show. Like I said, For me, it was
my first time ever seeing Deathtnes after fifteen odd years,

(53:29):
so that was that was that was just the MOMENTU
thing for me was just being like, yeah, cool because
Deathtones are a band who I really love and have
love for a long time, but without ever, I don't
know to actively try to be like I need to
travel across wherever to see Deathtones. So they were one
of the aga of the last band of that generation
for me to be like, yeah, cool, Sam, you've seen

(53:50):
death Tones more. How would you say this stacked up
in regards to other deaftone shows because this was obviously
larger occasion than many a deaf Tone show, and that
is the thing that people have the eyes on this
for was them kind of bringing what they do. This
felt almost like because we got was it. Olmes came

(54:12):
out in twenty twenty, which is the middle of the pandemic,
right yeah, and we didn't see much touring or anything
in support of it over here. This almost felt like
the death Tones of the twenty twenties arriving.

Speaker 2 (54:22):
It felt like I said their grand return after sort
of like so yeah, I can't they played the UK.
It's all since like COVID ended like they have they
done a download?

Speaker 3 (54:32):
I think since then I can't necessarily remember.

Speaker 2 (54:34):
But this was this felt like I said a real
sort of return moment and it and it showed in
how rabid the crowd was at points. Again, we've commented
on how a lot of people of the crowd were
on their fanes for a lottle bit.

Speaker 3 (54:46):
That was not the entire crowd. I want to make it.

Speaker 2 (54:48):
Like when this crowd got going, Like again, we were
in the sort of fun section near the back, but
you could kind of see that, like when they wanted
to bounce.

Speaker 3 (54:56):
They were balancing and motion having a good time.

Speaker 2 (54:59):
And like I've seen Deathene's bunch, I've seen Definin's like
they can get a crab bouncing.

Speaker 3 (55:03):
But I had not seen a Death Tans crowd.

Speaker 2 (55:05):
Again, maybe it's because of an age thing of like.

Speaker 1 (55:08):
The average age had been rejuvenated, maybe to a bouncier level.

Speaker 2 (55:14):
I don't think it had. But you know, the opening,
you know, be quite and drive as like amazing. When
when my own summer came in second, that place went
fucking off.

Speaker 3 (55:26):
Exactly, Holy shit, this is this feels like.

Speaker 2 (55:31):
This was like the real deal, Like I've seen definitely
when the headline Wembley and that was, you know, amazing.
But again it was like everyone kind of just enjoying
Death Tans be amazing. This was the first time I
was like, people are fucking losing their minds right now.

Speaker 1 (55:45):
I felt the exact same way it felt like they
were clearly being greeted as total legends, and she know
in particular like he's a hero now, like, yeah, the
constant fucking chance of there are other guys there as well.
You know, I did enjoy seeing the festival merch they
had and it had like a band picture on the back,
and it's like, it's bold of you to put Steph

(56:06):
Carpenter on that merch. That man is not there. He
is not in Crystal Park. He stayed on the other
side of his flat Earth. But yeah, absolutely what you
were saying, and that again Open and Run. The click
into my own Summer was huge, and then straight into
Diamond Eyes after.

Speaker 3 (56:24):
That, equally Lock Human God's Life.

Speaker 1 (56:29):
Yeah. So uh. The stage show as well, I thought
was cool because it was obviously you know, big screen
visuals and stuff, but maybe again, particularly as the sun
was kind of going down and you were getting the
when it was really it felt like a very deaf
tonesy stage show in terms of the the I don't
know the kind of the the lusciousness of it, and
even when it went dark, like I think when they

(56:49):
were playing what was it called Genesis, which is the
one track they played from Ome surprisingly. I thought they
played the title track when they were doing that, and
it's sort of this weird like dancing silhouette thing. It
was like that the you know, the more sensual side
of kind of dark and spooky was there.

Speaker 3 (57:04):
Yeah, this was like the sort of the screens and
images it was. There was a lot of it that
was very central.

Speaker 2 (57:08):
A lot of that was kind of like nasty and
creepy and like it was kind of playing off of
that like darkness and Death Nites music. But again, like
you know when you're getting songs like you've seen the
Butcher and Sex Tape, which have that kind of like
not sexual violence in them, but that darker sort of
side to it.

Speaker 1 (57:23):
Yeah. What sexty was beautiful, particularly again visually it was
very like pink and just very like Deathtones do the
mental headspace that their songs give you. Yeah, it was
I thought, well translated just into like the kind of
impressionistic sort of approach the vision.

Speaker 3 (57:39):
Yeah, thats it.

Speaker 1 (57:41):
Yeah, and changing the House of Flies as well with
the kind of like obviously song songs where Tino's playing
guitar and he was just sort of stood in the
middle of this giant like sun him looked amazing setting
behind him. Again, so like obviously my first time seeing Deathtones,
and like, it was interesting for me almost seeing which
songs get the reactions because there the ones that we
all know are massive, like my own Summer, right, But

(58:02):
I think in some of these cases there are songs
that I didn't necessarily know are like classics in the
same area or even like you know, Change, which is
obviously a huge fucking song. I would have never have
said it's like my favorite song on White Pony or
anything like that, but seeing it live, I was like, oh,
that's why this song is so like omni present, because

(58:24):
it just clicked in terms of like how into it
people were and singing along to that. But going into
like one of my favorite death Toned records is Coineocan,
and obviously I was like, yeah, Swerve City get a
huge we'll get a huge reaction because it's that bounce
riff and everything. But when they went into Rosemary and
everyone was like, oh my god, it's Rosemary, I was like, well,
I love this song, but I didn't realize this was
like a staple in the same way, and that was
really cool.

Speaker 2 (58:45):
Again, I've never seen as that I mean, we had
discussion on kind of where we ranked the death Tones albums,
and we will kind of disagreement with some things, but yeah,
there were there were somewhere.

Speaker 3 (58:53):
I was like, I mean, you expect, you know, I
say Swerve City.

Speaker 2 (58:56):
To go off, and then like if I'm talking Diamondize
my favorite death Tions record title track, Rocket Skates. But
then when you're getting like you've seen the Butcher and
Sex tape and that like that like rifted the Butcher again,
that was none of the god like like, oh holy shit,
it's this song, I was like, I like, you know,
I've always loved this song, but I never kind of
knew it was like again one that this deference audience

(59:16):
have now taken.

Speaker 1 (59:18):
I think that song it's it's one of those like
it's one of those sexy metal songs, right that that
is again it's very much part of the zeitgeist, even
though it's fifteen years old.

Speaker 3 (59:27):
Yeah.

Speaker 2 (59:27):
No, absolutely, and I think that's why again, some of
these songs are the ones that they have latched onto.

Speaker 3 (59:32):
More than some of the maybe more obvious ones. Yeah.

Speaker 1 (59:34):
And then Encore minerva into two adrenaline songs with Bored
and seven Words, which was hilarious contrast because Minerva was
one of the prettiest moments of the set, and then
at the end of You're.

Speaker 3 (59:45):
Going fuck fuck balancing and hammering.

Speaker 1 (59:49):
Yeah. And then what has been obviously a big talking
point from this as well is the fact that on
the screens before and after they're set, there was what
people are assuming to be a teaser for new new music.
There was something called private music, and there was a
Roman numeral which we were trying to figure out, do
you reckon they've used American ordering of months and dates

(01:00:10):
or you know, European ordering of months and dates, But
I think people have collectively decided they were probably doing
European in Europe, and thus we are maybe expecting a
new Deaftone song on July the tenth, So exa, isn't
it very exciting?

Speaker 3 (01:00:25):
Yeah? New definitis.

Speaker 2 (01:00:26):
You know, they're a band who always interesting whatever they're
putting out, whether like again, where exactly does that sound?

Speaker 3 (01:00:32):
I'm excited for it.

Speaker 2 (01:00:33):
And again we're in a new era of Deaftones being
a legitimate huge band. So is this going to be
like the song of Theirs that is going to become
a new classic Because it's the first song of this.

Speaker 3 (01:00:43):
This Yeah, Deftones.

Speaker 1 (01:00:45):
It's funny because because Omes did feel like one of
the bigger records of twenty twenty, but maybe they're even
more primed now to kind of really boot off with
it and just again someone like this particular show. It's
certainly headline shows. It's one of the biggest of their career, I imagine,
and if we are looking for what that means for them,
I again I'll be frank about it. After Corn have

(01:01:08):
been kind of allowed there, you're finally one of the
big boys now moment things that download, and obviously with
download that they've lost a lot of the old guard
of the usual you know, the spot fillers. I am
basically fully expecting all of Korn's class of band to
all get the shot right in it again if they

(01:01:29):
if they take it or not. But your deaf Tones,
You're nine inch nails. After we saw them doing you know,
the O two or whatever it was, Limp Biscuit as
well have done their big you know, gunsby Park shows
whatever I reckon. All those bands are now in the
que essentially not just for download, but to enter that
kind of category of megaband basically, and this show again

(01:01:49):
twenty six thousand people in London who were even with
the big bill, they were clearly their two see deafth Hones.
I think this is a moment where we've seen death
Tones kind of enter that.

Speaker 2 (01:02:00):
I agree, I mean again, nothing but like the whole
wearing a band's shirt to their gigs. Yeah, how many
fucking Deafthtone shirts where the people were not ashamed to
be wearing their Deathtone shirts to the Deathtone shows. Some
of them ones bought on the day, Like they are
that sort of band that where people are like, I'm
fucking seeing death Zones.

Speaker 3 (01:02:20):
I like death Tones. This is this is it?

Speaker 2 (01:02:21):
Like they they feel like a bigger deal than like
they ever have in my time of being a fan,
and that is like, I mean crazy, but I like,
again some.

Speaker 3 (01:02:31):
Of the weird quirks are you having to deal with
this new fan?

Speaker 2 (01:02:33):
I'll take them if it means death Tones are like
in the position that death Zones have deserved to be
in for so fucking long.

Speaker 1 (01:02:41):
Yeah, it was a massive show. It was absolutely massive.
The day after that, I skidaddled back to back to
Manchester to catch King Diamond on tour who this was
my second King Diamond show of the month right because
I saw him at Mystic Festival a few weeks ago,
long before I planned to do that. I had my
ticket for this Manchester show and obviously with the support

(01:03:02):
he brought along as well, I wasn't going to turn
it down. Just brief on those unto others were opening
who obviously you all know, because you're lovely educated folks,
that they are the absolute shit and unto others, I
was a bit sad that in the pocket of the
country where I am, I suppose we aren't getting a
headline show for this album cycle. Because around they did

(01:03:25):
two shows with King Diamond in the UK, they did
London and Manchester. They did several of their own headline
shows in various pockets around the UK, so you might
have seen them in Nottingham for example, or like they
might have done Lead to whatever places like that the Northwest.
Considering they came around with Green Lung, but the Green
Lung co headline tour in the UK they had been

(01:03:46):
delegated down to main support status. Unfortunately, we're just not
getting a headline proper tour from unto others on this
album cycle. But I was happy to see them again.
I will obviously take more onto others when it comes
along and they come back, which won't be long, I imagine,
because they are very very hard working band. Eight song
opening set from unto Others half an hour long, which

(01:04:08):
they have. I was begging for more songs when they
did that Green Lung set right and it was more
like an hour or something. But I couldn't believe it
went so fast. I couldn't believe how quickly this unto
Others set went, But those eight songs, Butterfly Mama likes
the Door closed Suicide Today, it doesn't really matter. Can
you hear the rain Heroin? When will God's Work Be Done?
Give Me to the Night? Ah? That is that's not

(01:04:32):
even my favorite unto other songs in that set list,
but what a perfect half an hour eight song thing.
And I was happy to see will will God's Work
Be Done? Back as well, because they didn't do that
on the little Green Lung run where we saw them
and when it was just like right second to last song,
everybody's having a great time. Yeah, I wish that bad
were fucking bigger, you know, but it was a perfect

(01:04:54):
opener for King Diamond for sure. Paradise lost again they
had like I can't remember what it was, maybe fifteen
minutes to an hour or something like that, and their's
was just, let's cram the hits into a you know,
a more minimal amount of time. Basically just all the
big staples that you would imagine, but you know, a
good cross section of all the different areas of their
career and stuff like that opening with Enchantment from Draconian Times,

(01:05:16):
which Nick had a bit of trouble with Mike at
the very beginning, but like incredible opening song and then
loads of stuff straight through to that wonderful sort of
goth rock club song Ghosts from the last album. And
they have a new record coming out in the autumn
as well, and they're going on a headline to with Messa.
But I would never turned down seeing Paradise Lost. So
that was the two great spport bands. The King Diamond,
King Diamond I will be very brief about because I

(01:05:37):
spoke about seeing a King Diamond show just a couple
of ways ago on this podcast when I saw him
at Mystic, and this was the exact same show, right,
It's the same set list, no variation to even some
of the same stage bits, you know, as you could
would kind of imagine. But I think I enjoyed this
even more than I did missed it because there was
like up close and personal, you know, and I was
in there and I'd had those support bands really get
me in the mood and warm me up. And just

(01:05:59):
what privilege to see King Diamond twice in just a
matter of Weeks's one of the greatest heavy metal icons
with one of the greatest heavy metal theatrics of all time.
I was standing stage like right right in front of
Andy La Roche all night just watching him absolutely rip it.
What a fucking legend and the King. I'm sure at

(01:06:22):
one point he like with his like this is a
mental sentence. If you're not a King Diamond fan and
you don't, you can't visualize this, but his like mic
that he has with like made out of like bone.
I'm sure at one point he like killed one of
Andy's guitar solos, like he finished it, and he just
went like yeah with his guitar with his microphone thing
as if to like hammer home the point of ending
the guitar solo. And then he was also at one

(01:06:45):
point throwing his invisible wife out of a chair during
the invisible guest, so just you don't get this shows.

Speaker 3 (01:06:52):
And it was a.

Speaker 1 (01:06:53):
Wonderful wrapping up of my not only my weekend of
big rock shows that I had, but what how been
collectively for the past you know, the month of June.
I started it in Scarborough, I went to Poland. I've
been everywhere, seen fucking so many huge some of our
greatest and finest, hugest bands. This was a wonderful little
cap on that seeing King Diamond again.

Speaker 4 (01:07:15):
Sam.

Speaker 1 (01:07:15):
Yes, before the Deathtone show, you and I were in
London at two different big shows that were happening on
the same night. I want to throw to you first.
He talk about Lincoln Park who played. Was it Wembley Stadium?

Speaker 3 (01:07:29):
Wembley Stadium their biggest show ever anywhere?

Speaker 1 (01:07:33):
Wow? Yeah, I didn't really that.

Speaker 2 (01:07:36):
Was they did their previous biggest however, like a week
before at like a sixty thousand capacity stadium in Germany
or France, and then seventy odd thousand in Wembley Stadium,
the biggest thing Lincoln Park I've ever done.

Speaker 1 (01:07:47):
So there were records being set across London that night,
so like.

Speaker 3 (01:07:51):
Yeah, kind of ties. You know.

Speaker 2 (01:07:52):
We talked about the whole thing with the US tour
and the kind of like is this Lincoln Park come
back as successful? Not there are facts in it, but
on the evidence of them at the Wembley Stadium, like.

Speaker 3 (01:08:04):
Playing The Big Driver, Yeah, it was its success.

Speaker 2 (01:08:07):
First up Jpeg Mafew like really solid, good card choice
of suport Flinker Park. Having Jpeg Matthew in Spirit Box
having a hip hop act and a metal act really
cleverly done. I thought Jpeg Matthew was wicked. Did confuse
quite a few people when I was in. They weren't
hard to react to some of his songs, but like

(01:08:28):
really intense, really at it. He had a backing band,
which was different when I saw, Like, I mean, I
was just run there because he's obviously done for quite
a few songs with Danny Brown, including Scaring the Hose,
which I've now seen played live twice this month, well
last month with.

Speaker 3 (01:08:44):
Like each firs.

Speaker 2 (01:08:47):
Yeah, Genman, he has a backing band, so he's got
a drummer really going from the kids. He's got like
a guitarist actually like ripping out some solos every now
and then, and it like it did kind of add
some real power to it, but just a really cool
like in fantational hip hop set to kick off the
linerl Part gig. I'd like to see him in some
maybe someone that isn't like a stadium where I'm quite

(01:09:07):
far away. But it was like he filled that stadium
quite well considering that the crowd was still coming in
and he made his impact, which was really cool.

Speaker 3 (01:09:15):
Spirit Box much.

Speaker 2 (01:09:16):
More kind of like greeted like as kind of like,
oh yeah, we like this. The Lincoln Park fans unbelievable
that spirit Box, like Rotoscope isn't a mainstay in their
set list. I will take issue with that. But spirit
Box were very good.

Speaker 1 (01:09:30):
They well the two songs they play from Eternal Blue
because I'm guessing one.

Speaker 2 (01:09:34):
Me and Holy Roller okay, which I guess that makes sense,
but yeah, like two of the big singles on it.
They're like opening with Fata More Gone off the which
does sound incredible live like that is like a really
dramatic intro, really impressive, perfect sneak. Like the new songs
spirit Box have a real power to them as a
live band, which does like add more to these songs
of the albums we can we quite liked, but we

(01:09:56):
felt we were kind of like missing something.

Speaker 3 (01:09:58):
I think that comes from More Live.

Speaker 2 (01:10:00):
They were hilariously kind of like trying to put on
the most two thousand and one spirit Box show imaginable
with how they were dressed, like accordingly when the baggiest
trousers and a like like a sort of a net
long sleeve with a T shirt over the top of it,
like awesome. They had like on the screens for one
song I think it was I a j I think

(01:10:20):
it was jaded where they had this kind of like
broken glass like effect over it and this like blue Field.

Speaker 3 (01:10:26):
So I was like, this is so evanescence coded. I
loved it.

Speaker 2 (01:10:30):
Best part of the set did have to come when
they decided we're gonna do Holy Roleve and Soft Spine
in a row and just fucking level the place.

Speaker 1 (01:10:36):
And again I was like, that is good.

Speaker 2 (01:10:38):
This is one of the heaviest things you're ever gonna see,
like at Wembley Stadium, like those songs back to back
and again I know moder milk all of that, but
those two songs are like crushers and they were wicked live.
Cellar Doors Closed was really cool, like really good stuff
in the spirit Box and they got you know, mores
bits going crowded into it and was quite funny.

Speaker 3 (01:10:58):
My sister and her friends I was with.

Speaker 2 (01:11:00):
Lincoln Park is like the heavier side of what my
sister's friends like. And they are a little bit like
about spirit Bumbs, which was quite.

Speaker 3 (01:11:07):
Funny, but yeah, really good for them.

Speaker 2 (01:11:10):
Yeah, and then Lincoln Park so you know, like for me,
Lincoln Park on one of the most important bands in
my kind of like development as.

Speaker 3 (01:11:20):
A music fan.

Speaker 2 (01:11:21):
The first album I ever bought my own money is Meteora.

Speaker 3 (01:11:25):
They are like, I've kind of had.

Speaker 2 (01:11:27):
My ups and downsinking Park over the years, but they
are a really important band to me.

Speaker 3 (01:11:31):
And again same with my sister, so asked to watch
them together. We're like, this is it.

Speaker 2 (01:11:34):
This is like sixteen year on me, like twelve year
old and my sister like being like becoming griebows through
hearing them like that. And again we know there are
controversies with the new lineup, fine, like we'll put out
a thing inside.

Speaker 3 (01:11:50):
This is one of my favorite shows I've been to
this year.

Speaker 1 (01:11:52):
Because I was said the question, we would be it's
the new lineup of Lincoln Park debuting in the UK, right,
so what was the what was the vibe?

Speaker 2 (01:12:01):
Like?

Speaker 4 (01:12:01):
Right?

Speaker 1 (01:12:01):
I guess compared to other times you've seen Linking Park.

Speaker 2 (01:12:04):
I think like Chester is irreplaceable, like as of focused
as a sort of point like you're never quite gonna
do it. Mike has now kind of like become more
of the front man of the band with Emily, kind
of like he's doing all of the crowd interactions and
Emily is more just doing the singing and like that.
But you know, seventy odd thousand people just getting to

(01:12:27):
see Lincoln Park songs played live again, that was it.
It was kind of like any kind of like always
a singer Park on not either were pretty washed out
when they like open with Summer I belong into crawling
and I was like, fucking, this is amazing already like
again as a mirror as Miro as.

Speaker 3 (01:12:45):
My Friendly Park album, some ralong opening, I was like,
ah what he Like?

Speaker 2 (01:12:49):
The angst was pouring out immediately. The set list. I
was really happy with a couple like because they've been
just kind of mixing things up here and there on
this thing quite a lot off of from Zero, you know,
with the Deluxe Edition and like that sort of the
other stuff. We end up getting eight songs off of
that amum, So they are they you know, they're pushing that,

(01:13:11):
and whilst we we kind of disagreed on that, I think,
as I said, we're eight songs, I end up being like, oh,
actually I like most of these eight songs. I think
it's quite funny. Up from the Bottom should have been
on the album, like that is one of the best
songs that this the Bark have done. Weird that it
was a bonus track, but it should have been on there.
But like they kind of did the thing again, like

(01:13:32):
I don't want to say to themselves two wasn't as
nearly four to.

Speaker 3 (01:13:35):
Hours nine inch now is when they did it.

Speaker 2 (01:13:36):
But they they're also kind of splint acts where they were,
you know, kind of like had where they were positioned
on the stage might change and and sort of things
that were going on would kind of move around. But
like the first or part of the set where you're
going somewhere I belong crawl and cut the bridge lying
from you, which I was like, fucking yes, this is.

Speaker 3 (01:13:54):
Sort of like a meteor cut I really.

Speaker 2 (01:13:56):
Want to see live and the Nentwers Machine, which that
is like that fuels completely at home with the Linkolark Classics.
The one thing I'd maybe come from the set was
did we need a fort minor cover? It was a
shorthand version of it, like fine, somehow not the only
fort minor good amount of a thousand tuns representation. Catalyst

(01:14:17):
sounded amazing. Waiting for them was good. The highlight of
the thousands tuns represtation comes when they dropped when they
Come for Me, which is still just a fucking hilarious song.

Speaker 3 (01:14:27):
I love it. I am not a robot, I am
not a monkey.

Speaker 2 (01:14:29):
I will not dance even if the beat is funky
bars from Mike shnoda.

Speaker 3 (01:14:34):
But then when they did that, and I was like,
I have the best time.

Speaker 2 (01:14:39):
The reggae one is the reggaeton stuff comes later and
the sort of the like retch in Kingsdom with Chester
Dinning is reggae impression. But when they come for Me
mixed with remember the Name by fort Minor, which is
the one fort minor song I fucking love because it
is a banger. And when because basically on this song,
Mike had been basically doing a verse from Lincoln part

(01:15:00):
songs or solo stuff in that when they come from me,
you kind of mash up as.

Speaker 3 (01:15:04):
When you got this is ten percent. Look twenty percent.
I was like, fucking, let's go. This is the best.

Speaker 2 (01:15:09):
But it's the closing run of this set which is
when I was can't was when this became one of
my favorite shows of the year. When we hit Numb,
which is on with the reggaeton nonsense. Like if you
look on the set list, it says Numb with reggaeton
Numb on cat intro extended reggaeton outro, which is a
kind of a cursed sentence when you think about it,
But that was basically Mike's kind of like stage about

(01:15:32):
the fans, went up to the fan and was like,
you're gonna, you know, dictate the drum pattern and the
drumm we're gonna use for part of this song.

Speaker 3 (01:15:39):
Pick a number and I come with them.

Speaker 2 (01:15:41):
They picked, and was like, right, that means you've got
to do a reggaton beat for the intro to this song.
So they do the the number on a fig big
thank you with like a reggaeton beat, which was weird
but fun, and then just kind of like did a
bit of like an outro for as well. But when
the end of this set list has Numb in the end,
Faint Paper Cup placed my hair heavi as the Crown,
which again is one of the best cuts of their

(01:16:02):
album In to Bleed Out. The whole set just had
a very celebratory vibe to it. It was like I've
seen some people kind of say they could have maybe,
you know, made more reference to Chester, like I always like,
potentially they could. I don't want to tell bands how
they should forming these sort of things. They clearly wanted
the vibe to just be We're back, this is what
Lincoln Park is. Now, let's celebrate these old songs, these

(01:16:25):
new songs. That's have an amazing time. And that's what
I did. I was so just swept up in the moment,
singing along to songs that again shaped my music taste,
getting see him live again for the first time in
over a decade, like a lot.

Speaker 3 (01:16:39):
Of the issues that could potentially exist kind of got
like washed away with just the good vibes of everything else.

Speaker 2 (01:16:45):
And I came out of that like sore throated, but
just so happy and and that that to me is well, yeah,
this is to raise some Lincoln Park. It's it's not perfect,
but I will take seeing these songs live again and
having an amazing time with it.

Speaker 1 (01:16:59):
Yeah, and the last part we had to talk about
of I don't know what you'd call it, the fucking
impromptu T and M festival that we've kind of put
together here of stuff that we were at comes from
Iron Maiden, Who's Run for Your Lives tour hit the
UK this week and I was at the Manchester show

(01:17:20):
a bit over a week ago Sunday, the twenty second,
I believe it was. Then I was coming down to
London four Deaftnes and we were coming the day before.
And I don't know how this worked. I guess i'd
like I'd already planned Iron Maiden before realizing I was
doing Death Tones or whatever. I had completely forgotten essentially
and didn't realize that Iron Maiden were playing in London

(01:17:42):
the night that we were going to be there the
day before Deaftnes, and I guess I also assumed that, oh,
you know, it'll be all sold out or whatever. But
we were going down to death Tones literally en route
on our transport and I looked at my phone and
there was Iron made in the post of something like
we've released like final productions, heated tickets or something for
the show, and I just loved that. My girlfriend, who

(01:18:03):
was going to death Ones with and I was like, Gee,
we're in London. Do you want to see Iron Maiden tonight?
She was like okay, yeah, So literally it's the most
last minute certainly like stadium, arena, whatever side show I've
ever done. Because it was the morning of we went
from not going to see Iron Maiden to going to

(01:18:26):
see Iron Maiden. So not only by seen King Diamond
twice this month twice as well. Mark. Hello, Mark, you've
been here listening the whole time. You went to see
Iron Maiden as well in Glasgow, didn't you. So our
combined report here it's it's the same set list and
show every time, so it's quite easy. But it's across

(01:18:47):
basically Manchester, London and Glasgow is what we are talking about.

Speaker 4 (01:18:51):
Yeah, and I wouldn't be surprised I have Bruce said the
exact same stuff between every song as well.

Speaker 1 (01:18:58):
There were a couple of the rhyme and the ancient
Mariner story was slightly different in London because it was
an open air stadium and a bird actually flew overhead.
It was like there it is God.

Speaker 4 (01:19:10):
He loved to talk about that birds. Pooh, you wouldn't
stop going on about.

Speaker 1 (01:19:13):
It, I know, but it was a whole thing. Every
time the bird would fly back into view, the crowd
would cheer and go ay, and Bruce would start looking around.
They were slightly different, but yeah. So the Run for
Your Lives tour, it's part of the Iron Maiden ritual
that they unveil this. They don't you know, it's not
like Metallica where you don't know what they can be
playing every night. They unveil a curated setlist for the

(01:19:36):
whole tour like a month before it starts or whatever,
and it's kind of part of the whole thing that
everyone kind of knows what they're playing on this one.
But it's because it's different from tour to tour. There's
discussion there and there's excitement. We avoided talking about the
set list announcement when it was announced because we were
like some people do like to try and avoid it.
Let's just talk about it as part of our discussion
when we do it. So, their unfea Lives tour was

(01:19:58):
you know, it was labeled basically a classics year tour, right,
they weren't gonna be playing anything later than nineteen ninety two,
which you know, there are many high Maden Classics actually
that come after that point, but it was heavily weighted
on the eighties years. It wasn't. There has been a
little bit of I don't know amongst the real you know,

(01:20:21):
hardcore die hard people have seen I made in twenty
times sort of areas. There was a little bit of like,
you're not actually covering every single album that you've specified
in this like nineteen eighty to nineteen ninety two timeframe.
They it could have just been labeled an eighties tour.
They labeled it that because they wanted to play the
title track of Fear of the Dark, which they play

(01:20:41):
on every single tour, but they didn't play anything else
from Fear of the Dark. I would have taken an
Afraid to Shoot Strangers or something, And scandalously for some
they didn't play anything off of No Prayer for the Dying.
And I know, Mark, I know that you are. You
know you're just going to say the word holy smoke
so many times and it would have been laugh right,
And I certainly I would have taken to bring your

(01:21:02):
daughter to the slaughter. I think that would have been
quite fun, particularly as a sort of a themed hit set.
I suppose and that's famously a song where they've got
a number one single or whatever, even though it's not
really a very representative violin song. I would have taken it.
It would have been fun. But when you look at
the set lists they put together and you think you
have to cut something right, this was as maybe close

(01:21:24):
to dead on with the consideration of some of other
tools where they've maybe aired other songs more recently that
didn't feature here, you could come. It was pretty perfect
really for the vibe they were going for, even though
some people may have complained that they have to hear
aces high rather than fucking Mother Russia or something dying,
but like, for really what a hit set list is,

(01:21:45):
it was two hours of the most spectacular music.

Speaker 4 (01:21:49):
Oh yeah, and especially from the sort of my perspective
of this is my second time seeing Iron Maiden the
first time.

Speaker 3 (01:21:58):
Half of the set.

Speaker 4 (01:21:59):
Was send It To songs, which I do really like.
I'm really glad I went to that tour I Love
sends It to I Love Somewhere in Time, and even
when they were playing like older songs, there were deeper cuts,
you know, So just this set list, seeing it a
month in advance or whatever, I was salivating. I was

(01:22:20):
rubbing my knees. I was just like, so so excited
because this is basically my first time seeing a classic
Iron Maiden set.

Speaker 3 (01:22:30):
You know.

Speaker 4 (01:22:30):
Yeah, and especially like those first four songs. Are you
fucked in the head? Are you kidding me?

Speaker 1 (01:22:38):
Yeah, we'll talk about some of the rarities, I guess,
but just on that like classic thing. Again, there are
people out there who have been going to see Iron
Maiden since the eighties. Yeah, who They've seen every single
song that they could want to see, apart from maybe
like two extreme deep cuts that have got away, and
they want to see those songs. But I always think
you have to consider the people who are seeing I
Made for the first time. And if you went to

(01:23:01):
what was described as an Iron Made and hit set
list and they didn't play like run to the Hills
or something for your first show, you would be a
bit like, ah, I wish I'd seen that. And case
in point, this was my third Iron Maiden show, right,
It took me quite a long time into my Iron
Maiden fandom to actually see them for the first time,
but this is now the well. I saw them, you know,
two times on this, but it was the third tour
that i'd been to. This was the first tour where

(01:23:23):
I had seen them play Run to the Hills, Hallow
be Thy Name, or Aces High right, And that's not
including again these deeper cuts, which I obviously hadn't seen
before third tour. I finally got to see fucking Run
to the Hills and Hallow be Thy Name. So I
was I was lever tating during those moments. I can't lie.

Speaker 4 (01:23:40):
Yeah, And it's that thing where I I love Run
to the Hills, I love Number of the Beast. I'm
never putting those songs on. I'm never listening to them like.

Speaker 3 (01:23:51):
I've had enough.

Speaker 4 (01:23:53):
I got into Iron Maiden basically like a quick chat
tangent when it was about seven years old because I
would rummage. I love to rummage through my parents' record collection,
and one day I came across the Number of the
Beast and the album cover really scared me, so I
asked to hear that one, and so obviously my mom

(01:24:15):
started with side B, which starts with Number of the Beast,
into Run to.

Speaker 1 (01:24:18):
The Hills, so that they didn't start with Invaders.

Speaker 4 (01:24:22):
I mean, I would have loved it, so like, these
songs are just part of my life like I saw
that album cover, it scared me and now I'm here
like it changed my life basically. So I've heard fucking
Run to the Hills a billion times. I'm never listening
to it on my free time, but like you say,

(01:24:45):
seeing it live, if I left that show when they
hadn't played Run to the Hills, I would be a
bit like, Ah, if I'd done my entire life not
seeing Run to the Hills live, I would be really disappointed.
And it's just my people fucking love that song for
a reason, like Number of the Beast as well, you know,

(01:25:06):
VI You're the Dark, all these songs, there is just
an energy to them live.

Speaker 1 (01:25:10):
Yeah. So of the two shows that I went to,
there was actually a major difference in that the Manchester
show was an arena show. It largely is an arena run.
But the London dates, which took place at the London
Stadium the West Hand Ground because Maiden, Yeah, because Maiden
have a major you know, tie in with west Ham
as a club, and they were selling like match programs

(01:25:31):
and everyone was there in their west Ham Iron Maiden
shirts and the crossover going on there and you know
in the kind of East End London as well, so
the London thing was more like a kind of homecoming
show and because the whole the whole theme of this
tour really is it's actually the fiftieth anniversary Iron Maiden tour.
And as we'll talk about the opening runner songs, the
show started with kind of taking them back to those roots,

(01:25:54):
and the visuals on the screen of like, here are
all the old East End places that we started out
playing as Iron Maiden. The London show had more of like, actually,
this is the homecoming to where it all started. Vibe,
which was really cool, and the London Stadium I've seen
some different figures, but it's in the seventy thousand range.

(01:26:15):
It's like, you know, sixty eight to seventy five or
something along those lines. And I didn't even realize this
when again I bought the tickets on the fucking day
of the show. It's the similar to what you were
saying about Lincoln Park, Sam, it's their largest non festival
headline show in the UK ever, and it was quite
cool and quite special to actually be there for that occasion.

(01:26:36):
That being said, I enjoyed the Manchester one more personally
because I was I was standing for that one, so
I was able to just go in there and just
sing along with my mates with just full abandon and
have the absolute best time. But also the stage show
and the visuals we can describe. I felt it worked
better indoors than outdoors because it's heavily sort of again

(01:26:58):
like light themed and stuff like that. And you know
when we talk about, for example, what the stage becomes
during like Rhyme and the Ancient Mariner or seventh Son
of a seventh Son, it was a little bit more
like immersive and you're in it when it was inside
the arena rather than in the big outdoor thing. The
Glasgow thing was an indoor arena, wasn't it, So you
would know what I'm referring to obviously when they're doing

(01:27:18):
that rhymean the Ancient Mariner thing in the sun right
in a huge stadium didn't quite have the same effect,
but it was really cool the sense of occasion for
the big London show. So let's go into this this
doozy of Settlers, which again we might break down slightly
more intensively than we would your average show because with
Iron Maiden, the ritual of the set list is part

(01:27:38):
of the thing. As we've said, they opened with a
little run of songs that is designed to take you
back to the roots of Iron Maiden, And when they
play the very first date of this tour, which took
place in Budapest about a month ago, and they started
playing these song for the first time, you kind of
had the little details of like, oh my god, this
is the first time they've bust out this song. And however,

(01:27:59):
weever long and bizarrely killers heavy, like I would have
maybe expected them to, you know, maybe a little bit
do more for the first album, Like I actually have
all the songs that I'm surprised didn't make their return
in this setlist, considering it's like going back to the
roots and hits and stuff like that. I thought Running
Free would be like a because for a long time,
Running Free was like the Maiden closer, right, like it's

(01:28:20):
a closer and a lot of the live albums and stuff.
It was like a really early day's hit for them.
But still, you know, not in here. But instead they
bust out a load of Killers songs that they haven't
played in twenty to twenty five years. What's that about?

Speaker 4 (01:28:33):
Oh my fucking god, what do you mean You're opening
with murders? In the room ward. I know, in the
room board one of my favorite Iron Maiden songs.

Speaker 1 (01:28:46):
I love it.

Speaker 4 (01:28:47):
I never in a million years would have anticipated seeing
it live, never mind as the opening song. I know, like,
oh my God, is so mad, Like like I say,
this opening run of four, I'm just giddy. I'm running around,
I'm jumping up and down. I'm like I can't keep still,

(01:29:09):
I'm shaking, just like that sort of I don't know,
the street level, the sort of the filthy, you know,
street tougher era of Aaron Maiden, the all rat Yeah, yeah,
the stuff that Bruce can't really pull off, but blastingly crying.
I love that stuff, and I love that we've got
a big cluster of it at the start.

Speaker 1 (01:29:31):
Yeah again, I did so. The first song they played
after that little Deano run at the start was Number
of the Beast, right, and that was the first like
Bruce song of the set. And I did feel like
the band and the show kind of went upper level
at that point because at the time when Bruce was like, yeah,
now this is my ship, right, this is my moment
to shine, because I was saying, murders in the room

(01:29:54):
Walk is a really hard song to say, like you
try and try and sing along to those vers, and
I don't know what the fuck Paul was doing, but
how he managed to like weave around those vocal lines
that he does there. It's really hard because it's pacey
and the melody lines are kind of unconventional and Bruce
wasn't never meant to do it right, but there he
is going like how I'm just going in the leader

(01:30:15):
day that whole fucking thing, and he's just kind of
trying to keep up as much as he can. But
it was so much fun to see it, and again
so that the Merge in the Room Org they hadn't
played since two thousand and five, the title track of
Killers they hadn't played since nineteen ninety nine, which I
guess must have been the very first tour that Bruce
returned to the band on. And even just the way

(01:30:37):
those early Killer songs the lyrics are all like I'm
a murderer, I've got a knife, I'm gonna gut you,
I'm gonna kill you, and then later on they're doing
fucking like seventh Son of a Seventh Son, like the
vibe is so different, but being transported back to that
headspace and Killer behind you was was it was really
it was novel in a special kind of way.

Speaker 4 (01:30:59):
Yeah, And it's very on the Bruce this era of
the band, and like even Phantom of the Opera.

Speaker 1 (01:31:07):
Bruce has never pulled the knife when anyone in his
life has.

Speaker 4 (01:31:13):
Oh man, yeah, exactly, Like you're not catching Bruce Dickinson
like outside of a pub behind a skipe, like I
love him, but he's not cool like that cool. But
even like Phantom of the Opera is, it's a bit
more theatrical, but those vocal lines aren't for Bruce.

Speaker 1 (01:31:34):
Another hard song to sing.

Speaker 4 (01:31:35):
Yeah, Bruce, bless him. He's still like he can hit
the notes, he still has such power, but in songs
like that where it is a bit faster, he can't
enunciate words, and so he's just sort of like like
I really love that, and I just and like you
were saying, it's not really Bruce's vibe. It's not really

(01:31:58):
Iron Maiden's vibe anymore. But then you look at Steve Harris,
who is like gurning, he's hunched over, he's on the
pro Steve Harris still performs pretty aggressively, and you're like, oh, yeah,
that's the guy. Bruce is wandering.

Speaker 1 (01:32:16):
About and next to him, never putting one foot on
the fucking stage at the same time as the other one.
But Steve's still there.

Speaker 4 (01:32:25):
That's one of my favorite things about Iron Maiden live
is when there's a long instrumental break. Yeah, Yanne girls,
but especially like when Bruce fucks off and you get
those four guys on the guitars at the front of
the stage and you realize, fuck, these guys are so
different and they move so weird in such different ways.

(01:32:47):
Adrian Smith is a rock star. He's swab, he's got
an ascot on, he's got like necklaces and rings. Steve
Harris is like a goblin. He's hunched over.

Speaker 1 (01:32:58):
He's a greats the machine gunner.

Speaker 4 (01:33:00):
Yeah, he's a machine guner. Dave Murray's just like a happy,
jolly old man. He's just like smiling bob in his
head back and forth. He's really happy to be there.
And then Yannick is just doing a jig. It's just
like his legs are so high up, his long, slender legs,
and you look at those four men and you're like,

(01:33:21):
fucking hell, heavy metal is magical.

Speaker 1 (01:33:25):
Yeah, it's worth showing that as well. Obviously this was
the first tour with Simon Dawson, the new live drummer
for them, and at both shows I went to, obviously
Bruce made a point of being like, got a new
drummer here. His kit is much much smaller than the
Niccho so you can actually see him, which it was true.
He didn't even have a gong behind him, he didn't
have an enormous wall of Tom's and it was interesting

(01:33:47):
seeing that because obviously he did a good job right,
But the vibe was different in terms of like, this
is more like a more stripped back rock drummer compared
to the massive, heavy metal showman of a drummer that
Nicko was. And again I've seen some people call him
just like a pub drummer or something, which is maybe
harsh to a degree, but I think ultimately what Simon
has to do is he has to keep the live

(01:34:11):
legs of Iron Maiden going for maximum maybe another ten
years or so. That's all he needs to do. We'll
probably get one album in that time if that, and
maybe Niico will play on that album. So Simon's job
is just to keep the live wheels going. And while
the vibe is different to being there with Nico on stage,
and it feels a little bit different. I think he

(01:34:32):
did a perfectly good job.

Speaker 4 (01:34:35):
Yeah yeah, I didn't really notice it musically, but like
I've only seen Iron Maiden once, but I've spent my
whole life watching live videos of Iron Maiden. So when
it cuts to him on the screens and it is
very noticeable, that's not Niko. It's just very odd. I'd

(01:34:59):
just like have a moment we're on vibein out two
minutes to midnight or something, and then it'll show show
him on the screens and I'm like, oh, yeah, ah,
it's there's just odd.

Speaker 1 (01:35:09):
It is funny that like he's the young guy in
the band and it's the drummer in British Lion, you know.
But we just talking like that about the visuals and
the screen thing because with this Iron Maiden show there,
it's basically it's Iron Maiden embracing what like LED technology.
They're arriving into the future. Yeah, you know, where it's

(01:35:30):
a big screen visual show, which not every imide show
has been. I think part of me will always kind
of feel to some degree that having like a practical
show is always just a little bit cooler but I
made still have elements of that obviously when Eddie comes
out and stuff, which he did like twice and it Killers.
Eddie turned up during Killers with his big acts and
stuff and that was cool. And then we've got Trooper

(01:35:51):
Eddie later on. But the big like led you know
light show screen thing I think was done very tastefully
and very well. Then you always had something cool kind
of again backing up the song, so you know Phantom
of the Opera which did early on in the opera
house right, and then as we went forward. That's continue
talking about the set list a little bit as well.

(01:36:13):
I was quite happy to the Clairvoyant in there that
wasn't in the set since the last time they did
like a Seventh Son themed when they did the Maid
in England thing like in twenty thirteen. So that was
nice to see love that song. But again it's it's
a deeper cut of Iron Maidens singles, I suppose. So
that was great. You've got Power Slave with Bruce coming

(01:36:34):
out wearing the big mask because he has done for
a long long time. But when the screen really came
into its own was a couple of tracks later on
Seventh Son of a Seventh Son the full nine minute
prog title track where I forgot during the entire latter
the half of the song, Bruce never comes back. Like

(01:36:54):
you've got like four or five minutes of instrumental jam
and Bruce never appeared again. I was like, oh, yeah,
I forgot, you never comes back during that. But that
was like the screens on either side would very much
like inhabit the world of the like the song and
the album mark right, So in that song, it's like, oh,
we're in a glacier, you know, because it's the icy
seventh Son art and particularly again in the arena when

(01:37:18):
it was a bit darker and everything where we're like, oh,
we're in there. And the song where that was like
pulled off to perfection was Rhyme of the Ancient Mariner,
which is a song again I had not seen Iron
Maid and do because apparently the last time they did
it was on like the whole was it like the
Flight six six six run in like two thousand and nine,
And I think any Iron Maiden fan of like our
age will have probably watched that Flight six six to

(01:37:40):
sixth movie a bunch of times and like getting that
moment for real, you know, was really fucking cool and
great rhyme of the Ancient Mariner. It's again since that
kind of time I've just described, and it's been an
Iron Maiden favorite of mine, but it's one that more
over the years I've continued to appreciate and get more
out of with age, and now having seen it twice

(01:38:05):
in the last week and a bit, I never would
have even though it's a fantastic song, I never would
have necessarily put it in like my top five top
three Iron Maiden songs. Having now seen it live twice,
I'm thinking whether it could be because fuck me. For me,
this was along with Halloaed, which we'll get onto, which

(01:38:28):
is just very special for me. This was the highlight
of the whole thing for me, not only the kind
of again the staging of it and how you were
brought into what is going on with that song, but
the fuck the back part bit when it comes out
of the extended mid portion again and it just builds

(01:38:48):
up and goes. I was just on cloud nine for
that part both times they played it.

Speaker 4 (01:38:55):
Yeah, this is where the visual aspect. I just love
the sea, I love big shipes, I love just like
the iconography of Sea, Fairy Sea dogs.

Speaker 1 (01:39:08):
Yeah, well, we're both people who feel the way Russell
Crowe does in Master and Commander when he starts talking
about maps and starts running his finger along cape horn, Right,
that's us. When my maid are playing around with the
agent Marina.

Speaker 4 (01:39:19):
She's not old, she's in her prime. I sometimes feel
like you're my captain, Jack Aubrey, and I'm your character.

Speaker 1 (01:39:30):
Absolutely, But just like.

Speaker 4 (01:39:33):
This, you're on the you're in a storm on the sea,
there's a big bird flying at you on the screen,
and then you're underwater and it's like Cacophonus and it's dark.
It's just like so cool. Even though I have to
admit during the ambient section, I did go for a pisce.
It just felt like the appropriate moment. Though.

Speaker 1 (01:39:52):
Did you come back when it was still during the
ambient part, Yeah.

Speaker 4 (01:39:55):
I was okay, I made my bed. I was like,
I might miss the soul laws. Nope, they were still
in the vogan ambient.

Speaker 1 (01:40:04):
Yeah. I love that part. I've always loved that part
on record and live how again, like the creaking of
the ship and everything that's part of the track, like
hearing it. And that was the part where again the
staging and when they reached that sort of lengthy, you know,
spooky mid part, which I've always thought was just such
a cool inventive thing for a band like Iron Maiden

(01:40:25):
to do right, to have a section like that. But
the dry Ice just went into fucking overdrive during that section,
and the walls of the stage was like, oh, we're
in We're inside the fucking hull of a ship, you know,
and you can hear it around you and you can
hear the waves. And again, the screen visuals, I don't
I don't want to just be that guy who was

(01:40:45):
like that's that's AI or whatever. I don't know how
much AI may have been involved with, Like some of
the video visuals look very slightly uncanny, But for the
again immersing the like turning the arena into basically the
environment of the song, this rhyme, the into Marina part
was a masterclass in that. And then, as I've said,
when it builds into the whole latter part, I was like,

(01:41:06):
this is the thing that heavy metal does better than
any kind of music that's ever been around. It was
absolutely incredible. And the other song that was very special
in that regard, as I've alluded to, was Hallo be
Thy Name, which was my personal first time seeing that
song on my third Iron Maiden tour. And when they
went into that part and how many bands could have

(01:41:29):
their frontman sing more than half of the song from
a little jail cell cage in the corner of the stage.
He rose up out of the ground in his little
cage with his jail bars and sang almost all of
the song from this little cage. And it works right.

(01:41:50):
You don't need him running around, even though he's famous
for running around. It was perfect having him, you know,
yearning out of his jail window while singing. At five o'clock,
they take me to the gall pole and there's the
pole on the screen behind him.

Speaker 4 (01:42:02):
Yeah, I mean, I will admit, I adore How'll be
Thy Name? I loved seeing it live obviously it's such
a powerful, epic song. This is when I started giggling
because when Bruce becomes Cgi Bruce and enters the screen.

Speaker 1 (01:42:19):
And we were getting to this part. This part was
absolutely sensational. So when hall Thy Name speeds up and
enters the instrumental section, real Bruce in the jail cell
right exploded in a puff of smoke and in his
place where he was standing on the exactly where he

(01:42:40):
was on the screen is a Cgi Bruce, right, which
I will say again, particularly at the London show where
I was at the back of the stadium right from
far away, didn't look too bad, right, but then he exactly.
He then spends the solo section, the immaculate, incredible solo
section of that song, running up a little path being
chased up to the noose by a evil Eddie Grim

(01:43:06):
reaper skeleton ghost, and he turned into super Mario Bruce
running up and down the levels.

Speaker 4 (01:43:13):
It was phenomenal, It was incredible. It's one of my
favorite things I've ever seen. And I was sort of
I was on my own on the floor, so I
was just wandering about a bit the whole set and
I sort of for hell would be their name. I
was stood next to a guy and when the song started,
we both really got excited. So I was sort of

(01:43:33):
with him for that song, and when this happened, I
just sort of inadvertently went he's been chased by a
phantom once. I was just like so excited to see
a little gholly chasing horrible little Cgi Bruce up a
diagonal path.

Speaker 1 (01:43:54):
Yeah. I kinda say as well that the immaculate costume
changes from Bruce where again I was with my girlfriend
it was her first time seeing I Am Maiden, because
we just take the people like we don't know when
you're going to get the time that you're going to
come and see I and Maide and we're in the city,
come along, and just being so indeared by this silly
little theater man when he's like wearing his big top

(01:44:15):
hat and holding his lantern during Fear of the Dark
again ryman hitch at Marada when he appeared at the
end and he had like ragged like robes on like
he's been lost at sea for weeks. I love that
and his little fucking pilot helmet during Aces High, like
all of the bits just so much fun. But again

(01:44:36):
Hall with that name, like even the second time seeing
it in London, I was like, I genuinely like so
I was overcome with emotion seeing that song. It was
just absolutely wonderful. And then an encore after, you know,
obviously ending the main set on the song I Am Maiden,
which is the most played song by a mile. Encore
start up again with Churchill's speech into Aces High and

(01:44:58):
it's like this is hype isn't it like this pretty
fucking hype and then Fear of the Dark Wasted Years,
which I've seen Wasted Years close the set every single
time I've seen Iron Maiden, but it's the best, like
feel good, realize you're living in the Golden Years, you know,
end to a set. This was what I am. I've
been waiting for for a while because while I had

(01:45:18):
seen them before, I knew that this was going to
be my shot to actually see some of the some
of the the Glory Years songs you know that I
hadn't yet seen, and getting to see it twice was
an actually bonus, but it was really lovely. I was
just overcome both times with I love heavy metal.

Speaker 4 (01:45:40):
It's i Ace is High in particular. I think if
you this sort of period of Iron Maiden, Aces High
is probably my favorite song from the eighties. I like,
I love that song and obviously it's such as high
live is such a thing. Like I have about eight

(01:46:03):
Iron Maiden DVDs, and Aces High is usually the highlight
for me on all of them. Like so just seeing that,
like I'm actually seeing that I'm actually seeing aces High live.
Bruce has got his goggles on, He's like giving Yannick
the finger while he's wearing his goggles like it's just heavy's.

(01:46:24):
I love heavy metal. I would dive for heavy metal.
I love it.

Speaker 1 (01:46:28):
Yeah, even though you can tell the note in the
chorus the Fly to Live that no one could actually
hit because everyone's singing along and then just go quiet.
No one can hit that note anymore. I should say
about the screen as well. I guess the other big
moment was I think it was during Iron Maiden, the
bit with Eddie. It was like peace of Mind Eddie

(01:46:49):
in the you know, the padded cell on the cover
and it was a silhouette and then he broke out
and then he popped up and he was like, ah girl,
angry big Eddie, and it very much, which felt to me.
I don't know if this is a case of like
influence coming around and older bands now being influenced by
newer bands. It was felt like to me like the
reskinned Iron Maiden version of the Bring Me the Horizon

(01:47:11):
show from the arenat All recently when they had when
everyone's going mad about the giant like robot woman or whatever. Yeah,
that's that thing. It was. It was exactly like that,
except it was Eddie basically, and I was like, someone's
doing the Bringing the Horizon thing, but an old band.

Speaker 3 (01:47:25):
Now you know what it is.

Speaker 4 (01:47:28):
It's Rave visuals. This is what Raves have been doing
for years. This is a trucking Shrek rave but with
an Iron Maiden coat over.

Speaker 3 (01:47:38):
Don't get me wrong. It was fucking epic.

Speaker 4 (01:47:40):
I loved every second of it. I loved it when
he like was biting at me, like I just I
loved the spectacle of it. But I do really love that.
On the run up they were like, oh, yeah, with
our show, we're doing something no one's ever done before.
It's gonna be incredible, it's gonna blow your mind. And
it's something that like Raves have been doing for years.

Speaker 1 (01:47:59):
Yeah, and it's a thing that again just a very
noble example. Bring Me the Horizon were basically doing it
with their stage show recently, but the Iron Maiden, a
fied version, particularly immersing you in the Hull of Rhyme
with the Itch at Mariner and in the Glaciers of
Seventh Son of a Seventh Son, was just, yeah, fantastic.

Speaker 4 (01:48:16):
I'm happy to have it for this one, Like I'm
very happy to have the one big Telly show. But
like you, I'm always gonna prefer a big eddie wobbling
around too.

Speaker 1 (01:48:27):
Yeah. Well he came out as well, so that was
good he.

Speaker 4 (01:48:29):
Did, and he took a swipe at Yannick, which I
really appreciated. He was jigging too much.

Speaker 1 (01:48:35):
Yeah, and then I can have a rest for a
couple of weeks until I see man O War of course.
But what a crazy week that was. Thank you everybody
for listening and being along with us here. If you
went to any of those massive shows that we've just
spoken about, from Iron Maid into King Diamond to the
link in Park too, of course that big Deathtone show,
what were your experiences like? Were they as positive as

(01:48:58):
I hope everybody had a grand old time? Who is
there everybody who is seeing Slayer this week or going
to the Mega Black Sabbath Back to the beginning show,
we'll also have a grand old time this week, Sam,
After at least one of those things, You're going to
be at two thousand Trees as well, so we will
have a report from that. I guess in like two

(01:49:19):
weeks time we'll stop. Yeah, the fun don't stop. I
guess we'll figure out who's around to do what next week,
But we will be back with the Hyperblast next week
and then continuing on from there. So cheers everybody for
your support as ever, Please if you can, if you
have the time, it would be wonderful if you could
leave us a little rating or review on whatever your

(01:49:39):
podcast app of choice is, because we're we're not the
hot new thing on the podcast block, so getting whatever
way to kind of infiltrate our way into these algorithms
and get put in front of new people is ultimately
the lifeblood of this podcast, So anything that you can
do to help us out in that regard is massively appreciated,

(01:50:00):
particularly maybe episodes like this one. We're obviously up the
top there. We were wading into some potentially dangerous territory
and potentially inviting a lot of criticism from those you
know who might disagree with what we've said. So any
help that we can get from you guys and anyone
who has our back is appreciated. So let us know
your thoughts on everything we've discussed today. We will be

(01:50:21):
back very very soon indeed, and yeah, cheerio, Bye bye

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