Open Mind Saturated Brain

Open Mind Saturated Brain


Monday, 24 April 2017


GenresPunk / Hardcore / Post-Hardcore / Post-Metal
Related artists?.
CountryBordeaux FRANCE
Years Active2011-present
Song: "Spring"
Album: "Cliffhanger"
Year: 2016
For fans ofThe Armed, Voyage In Coma, Young Mountain, Cult Of Luna, Neurosis, Isis, Tephra, Viva Belgrado, Yarostan, Callow, Pianos Become The Teeth and Remote.
Label(s): Dingleberry Records / Voice Of The Unheard / Unlock Yourself Records / Désertion Records
This post's artist is from the April 2017 Mix. This is track #7.
You can download: the April 2017 Mix#4 right here or get the new May 2017 Mix#5 here.

moved from long, drawn out post-hardcore/post-metal to short, dark bursts of metallic hardcore. The early work on 'Weight of Past' is rooted directly is post-metal, most notably influenced by bands such as Cult Of Luna, Neurosis, Isis and Tephra. The five to eight minute songs mix gutteral yells and some classic, Neurosis-esque clean singing, which I'm not the biggest fan of, to be honest. The instrumentals on this EP is excellent though, as it creates a vast and dreary world that is highly susceptible to ambient interludes in addition to swelling breakdowns. By the end of the same year PAST released 'Never Fall Down', a blatant departure from their previous sound, opting for a dirty, post-hardcore smash in the face instead of a lulling and epic post-metal approach. This definitely gives the band character and a finer niche within the punk/hardcore/metal sound, and is the reason why I reviewed PAST. Not for this album, though, as the band sent me their 2016 offering so I jammed that first. I would most definitely note that "Our Flesh", "The Gun", "Dropout" and "Outro" are fantastic songs that really give a strong indication of the style that is refined on last year's 'Cliffhanger'. On this release PAST has really pushed a driving style of dark, blasted and bassy hardcore that can be seen in other current bands such as RemoteThe Armed and Young Mountain, primarily.The opening two tracks from this debut LP are phenomenal. PAST drop the fantastic "Spring" first, which sets the tone of the album with brooding, vicious, dirty and dark hardcore with a surprising amount of structure and melody. The breakdown/chorus that hits right before the first minute will have you air-drumming along in no time. "Once Again" further reaffirms the dark path they've taken, as the thick and sludgy instrumentals pack quite a punch, especially once combined with that throaty scream. In addition to the awesome, devastating screams are occasional dual vocals that are placed well but don't really accentuate the music much, as the lead vocalist has such a commanding vocal presence. The LP continues in this vein but I find that none of the remaining songs hit me like the first two, but "Cliffhanger", "Doormat" and "Troth" are definitely very good songs. I'm very happy that Domino Media sent me this for review. Kudos.



2013 - Weight of Past digitalEP (stream/download here)
2013 - Never Fall Down digitalEP (stream/donate/download here)

2016 - Cliffhanger cd/12"LP (stream/donate/download here)


(2016) PAST - "Spring" (from 'Cliffhanger')

(2016) PAST - "Once Again" (from 'Cliffhanger')

(2016) PAST - "Doormat" (from 'Cliffhanger')

(2013) PAST - "Outro" (from 'Never Fall Down')

(2013) PAST - "Our Flesh" (from 'Never Fall Down')

(2013) PAST - "Weight of Past" (from 'Weight of Past')


PAST additional links


Sunday, 23 April 2017


GenresPunk / Post-Rock / Hardcore / Post-Hardcore / Emo / Emotive Hardcore / Screamo / Skramz / Post-Metal / Ambient / Instru-metal / Prog
Related artists?.
CountryMarseille FRANCE
Years Active2016-present
Song: "Aversion - Les cors pour assiéger la nuit"
Album: "Les ruines de notre temps"
Year: 2016
For fans ofDaïtro, Viva Belgrado, Rinoa, Young Mountain, Corea, We Never Learned To Live, Potence, Dominic, Rainmaker, Sed Non Satiata, Jeanne, The Third Memory, Dip LegKŸHLÀnteros, Mesa Verde, Captain, Your Ship Is Sinking and Suffocate For Fuck Sake aka PROPER SCREAMO.
Label(s): Self Released
This post's artist is from the April 2017 Mix. This is track #10.
You can download: the April 2017 Mix#4 right here or get the new May 2017 Mix#5 here.

YAROSTAN are from Marseille in France. The four-piece take their name from a character in Fredy Pearlman's 'Letters of Insurgency'. The band's debut EP 'Les ruines de notre temps' came out in September of 2016 and has got me very hyped. Although the EP an arc meant to played as cohesive whole, I've found myself jamming one song constantly, two songs periodically and another song rarely. That being said, this is YAROSTAN's first outing and it has had quite an impact on me. Dave, discuss:

The EP opens with the title track, which is also the shortest song on the release at 2:11. "Les ruines de notre temps" splits its time with the first minute being a Mr. Robot quote that flaunts our species' ignorance, disregard and placidity in the listener's face with a blatantly truthful and emotionally uncomfortable rant followed by another minute of long, drawn out hits and feedback. "Les coeurs se fanent" gets right into it and mixes a lot screamy, crusty hardcore of the Daïtro and Potence variety (so, obviously the vocals) and boasts a pummeling opening 2:27 before receding slightly into atmospheric post-rock/post-hardcore territory.

Track three, the ultimate, the amazing "Aversion - Les cors pour assiéger la nuit" is absolutely incredible. I would have initially assumed that the fast, heavy and in-your-face second track would be my jam, but considering the time and effort put into the amazing crescendo and subsequent climax that is the 7:40 of song three, I can't help but be a little dumbstruck. After an quick introduction, the song gets very French screamo (again, Daitro) before settling into a nice, serene groove that brings Young Mountain and Suffocate For Fuck Sake to mind. Giving you time to sway and chill for the section beginning at 1:30, with things climb significantly after 2:45 in the instrumental department. However, the song doesn't explode and instead takes another step back, opting to tug their wave back for a bigger and more destructive blow. The epic drive upwards continues past the four-minute mark until 4:53 when shit goes bananas. Seriously, I'm tearing up right now. At 5:20 a prodigious breakdown takes the song into subterranean post-hardcore with dark, bass-driven claps that erupt like a volcano again at six minutes, making this one of the best songs of 2016, holy fuck.

The closer, "Antarctique" opens heavy as fuck but this is misleading, as after the crashing instrumental 1;15 the song takes a eerie and minimal turn that is more atmosphere than music at points. By 2:30 the song gets back on track, more or less, and rides its own image of Pelican until the 6:26 finish.

I am beyond stoked to see what YAROSTAN releases next. Be sure to check out their bandcamp page and please please please check out "Aversion - Les cors pour assiéger la nuit".



2016 - Les ruines de notre temps EP (stream/donate/download here)


(2016) YAROSTAN - "Aversion - Les cors pour assiéger la nuit" (from 'Les ruines de notre temps')

(2016) YAROSTAN - "Les coeurs se fanent" (from 'Les ruines de notre temps')


YAROSTAN additional links

Saturday, 22 April 2017

***TRACHIMBROD exclusive interview, the second***

Back in 2013 I contacted what I think was the first or second band that I ever asked to do an interview with (the others I remember being Animal Faces and Amber). You can read it here, as it was a very surreal experience to ask a band that I loved my own questions. Now it's nearly half a decade later and I was lucky enough to help release what I believe is album of the year (thus far) with TRACHIMBROD's 2017 offering of their 'Leda' 12"LP. Released on my label, Zegema Beach Records, along with my German friend Paul and his Through Love Recs label as well as the illustrious UK-based Dog Knights Productions led by Darren (who I interviewed around the same time, here). It comes on a 12" of either black or a half green/half clear mix. It sounds like Suis La Lune meets Raein with an additional sprinkle of Via Fondo. It's fucking unbelievable. Here's a very quick rundown of the 9 songs.

1 "Rum utan fönster" sounds like majestic elves hopping through enchanted forests, screaming with love. It's so fucking chill. The guitars are airy and light but engaging as hell. The utilization of the flute is spot on and I hope it makes more appearances in the future. Unreal opener.

2 "All är som det alltid var" begins as probably the most accessible song, with sugary sweet singing that borders on a medieval, tribal chant. Screams are added later and the song is another very chill one that builds to a pretty steep cliff from the second to third minute and takes a breathtaking leap.

3 "Tärd" is my song of the year. Holy fuck. The opening 48 seconds is good and all, but from about one minute to two minutes the song boasts the catchiest riff of 2017. I love everything about this song, the vocals, the drums, the bass, the structure and transitions, but goddamn that guitar interplay and their chord progressions are, simply put, phenomenal. If you jam but one song from 'Leda' make it this. This was supposed to be the single from the record but the tracklisting got messed up and the track titles needed to be switched from tracks 2 and 3 so that led to this getting bumped in favor of track 2 due to the song title already being sent out as the premiere. That's a damn shame because this is the TRACHIMBROD song on this record.

4 "Begränsad" was the second single released (the first being track #2) and it is on par for the album. It is rooted in a descending/circling guitar riff that leads the track's parts and corrals everything together into a head bobbing amalgamation of awesomeness.

5 "Medskyldighet" is the heaviest and shortest song on here, and is easily one of my favourites. Opening with a incessant drum beat, the guitars swoop in and join the mix for a few bars before the drums, bass and outright screaming is poured on at around 25 seconds. This driving, thumping and engaging segment breaks at 1:12 and dissolves into a fantastic Swedish twinkle that brings Via Fondo to mind both instrumentally as well as vocally, as Lukas is able to perfectly balance a yell with a scream, much like Elina from the now defunct but forever adored Via Fondo did so well.

6 "Ett annat liv" is probably the most Suis La Lune sounding song on here. The chorus' have that spacey and playful guitar tone of Mr. Henning that even includes the solo-heavy guitars that sound like The Strokes. When the song is in verse and bridge, things tend to slow down and the listener is able to relax.

7 "Vi tå" begins like a shoegaze song, only to take a drastic turn at 30 seconds with more of The Strokes soloing and classic Swedish screaming and could have been housed on 'Riala'.

8 "Hjärnspöke" is very post-rocky and has a calm intro for about 50 seconds before a slight pick-up and a very sad sounding riff drop in and transition at 1:38. This new juncture is probably the softest instrumental moment on the record but Lukas layers in all in screaming, which I think is the right call, cuz it sounds awesome. The final minute of the song has the sad instrumental passage climaxing alongside those beautifully screamed vocals.

9 "Saker de säger"is the closer and a more apt one I could not suggest. The opening alone foreshadows big things in its future, although come 33 seconds and the song shifts to the chill mid-section, complete with soothing singing, continuously rolling bass and twinkly riffs. It isn't until two verses and choruses are complete when TRACHIMBROD decides to dip back to the opening riff and close the song in a circular fashion using a gaping riff at three minutes that sucks everything into it like a black hole. At 3:25 and again at 3:50 the void expels all it had consumed in a fantastical explosion of sounds, both bursting with a full spectrum of colors and also cowering in the deep, dark shadows.


Order from:

"The Second"

1) Dino and Lukas, what have you all been up to since our last interview back in June of 2013? (linked here)
It's been a while since we did that interview. All of us have mostly focused on things outside of Trachimbrod to eventually meet up when the time felt right and pour the new inspiration and perspectives we have gathered into this new record. The singer Lukas is active in a bunch of other bands, so is Kristoffer the bass player and the rest of us have been occupied with studies and other sorts of activities.    

2) Was the writing process different for ‘Leda’ when compared to previous recordings?
Slightly different, we have never been a traditional band in that sense that we meet every Thursday to write new songs together because we live in different cities far away from each other. So we have adapted to this and created a method that works most of the times where usually Hannes or me writes the foundation for a song and while everyone else contributes with their unique touch to their instrument. In this sense it has not been that different in a practical way, but the introspective process for 'Leda' has been a far more challenging and rewarding process than any superficial mumbo jumbo. The process has taken a longer time than usual and it has been more difficult also due to life's creative ways of challenging your existence.

3) What are the lyrical themes for 'Leda'? Is there a general theme?
I would say that the main theme for the lyrics and music follows a path of delivering a portion of criticism to the negative byproduct from the nihilistic ideas and values we are left with to deal with our selves in todays post-modern secular society. Hopelessness, confusion and fatigue over the lack of truth, community values and meaning in a spiritually empty individualistic consumer society and material worldview. A concern for the unsettling fascist, totalitarian values that are growing because of the neglecting side of our culture. Trachimbrod is nothing more than a tool of projecting these thoughts and feelings in a constructive way.

4) What were your musical influences on this record?
When we first got together to talk about ideas for this new record we shared a common notion of exploring a more minimalistic approach this time around. Exploring the foundation of our songwriting and sound. Pealing of the layers of the onion, examining them more carefully before putting them into the pan, so to speak. Being more conscious and deliberate in our use of effects and pedals to discard the excessive and keeping the essential. Leaning towards a kraut-rock vibe to some extent and adding more layers of synthesizers in some of the songs. All of us in the band have rather different taste in music which always has been to our common advantage, it has enabled us to blend more freely and without holding that strongly to ideas that we are supposed to sound a certain way. The goal has always been to make the most rewarding musical experience for ourselves and then when we are satisfied we can present it to everyone else.         

5) Do you feel like TRACHIMBROD’s sound has changed or evolved over time, and specifically from the Sore Eyelids split to ‘Leda’?
The sound of Trachimbrod has always balanced between two extremes of chaos and order, uniting these two elements on a playground where they can sort of have a go with each other, explore each other and whatever comes out of it speaks for itself. I think that we found something we liked when we did the split with Sore Eyelids and that thing has evolved by itself up til now and is continuing to evolve.

The sound is a mere reflection of what is inside of us and the music as result is the physical constitution of this, don’t get caught up in superficial things like appearance or hypes, look beyond this and I'm sure you can sense when something feels genuine to you. When music taps into that place inside of you, the music is good.       

Music can in some ways be a catharsis of the divine yet tragic circumstances of human existence. If you know that life can be exhilarating at times and excruciating terrible at others you know that it's working properly. Be sad, or happy and allow yourself to feel these feelings fully, don't become a corporate zombie and don't take out your frustration on others in destructive ways. Sometimes we need something to remind us of this and shake us up from our slumber. To be awake is to see things for what they really are.

6) How would you describe 'Leda' to someone? Do you think it fits into any specific genres? Did any of your musical influences shine through on the final recordings?
I guess there is a lot of ways to describe 'Leda', it's hard to describe something you have experienced from a different point of view. I would go with this one: “Do you know the feeling of when you are falling in love with someone? When you go from the sense of that reality you experience is one way and then all of a sudden you walk across an invisible line when everything is different, your senses are stronger the colors around you are brighter and all the things you thought were problems are now vanquished, well 'Leda' is like that part in the middle, the split second of that transformation, one foot in the grey and one in colors.” To put this album in one genre doesn't work, because it's a mix of a lot of things and also because I personally find genres kind of deceiving in a way. It's more of a marketing thing in my book and therefore a question for the label minded. The self titled album by the band True Widow is something I listened to a lot during the recording phase but I don't think it really shined through on 'Leda'.

7) What led you to the labels you are releasing 'Leda' on? How did you come into contact with Dog Knights, Through Love and Tokyo Jupiter Records?
Tokyo Jupiter Records was the first label we got signed on to when we first started and they released two demos on cd. Then in 2012 Through Love Rec. got in touch with us and released our debut album 'A Collection of Hidden Sketches' on vinyl. Together with Zegema Beach Records they have helped us with releasing and spreading our music ever since. Our singer Lukas plays in emo/pop band I Love Your Lifestyle who are signed to Dog Knights Productions, so that connection came from there.

8) You are supporting 'Leda' initially via a tour in April with Nionde Plagan, the band which Lukas also plays drums for and my band The World That Summer is releasing a split 10" with this month. Did this come about because of the sharing of Lukas between both bands? What is your tour route, why did you choose those cities?
Most of our touring and live gigs have something to do with Lukas. He is the one pulling all of his strings and giving most energy into getting Trachimbrod on the road. This tour though is fully booked by his band mate Jonathan who's the singer in Nionde Plågan. We're doing one gig in Gothenburg and after that we're heading to Hamburg where we've played a couple of times before so it's always fun to come back. Nionde Plågan had connections with two promoters in Italy so we're doing two shows there which both bands look forward to very much since it will be the first time. Same thing with Amsterdam.

9) Speaking of touring, what has been your best show and/or tour to date?
That's really hard to say i guess. Our last gig was two years ago in Stockholm and before that it was in 2013. So we've done one gig in four yours which is really weird. But i think our two weeks long tour with german hardcore/screamo band Fjørt in 2013 included our best shows so far.

10) Besides the upcoming Nionde Plågan and Trachimbrod tour, do you have anything else planned as a band, or individually?
We are playing on this years Miss The stars fest in Berlin in May which will be great because of the amazing line up. None of us have been there before but we've heard really good things about it. There are some loose plans on Asia this summer but nothing confirmed yet. We have also started to talk about ideas for new songs but we will see what happens in the future.

Thursday, 20 April 2017


GenresPunk / Hardcore / Screamo / Crust
Related artistsShikariOne Day Closer, We Swim You Jump, Office Killer and Disengage
CountryGroningen NETHERLANDS
Years Active2006
Album: "Demo/Facelift split/Songs From The Crypt"
Year: 2006
For fans of: Battle of Wolf 359, Welcome The Plague Year, Union of Uranus, Kaospilot, June Paik, DolcimMajorel, Guidelines, In Tongues and Khayembii Communique aka PROPER SCREAMO.
Label(s): Moment of Collapse Records / OSK Records / Hidden Rainbows / Yellow Dog Records / BoredToTheCore Records
This post's artist is from the April 2017 Mix. This is track #6.
You can download: the April 2017 Mix#4 right here or get the new May 2017 Mix#5 here.


MARAT was a band that existed for 8 months and only put out 4 songs. These 4 songs are so good in fact that there are 3 different releases with these songs: a demo, a split CD with Facelift, and a 7”. Also did I mention they had members of Shikari? Unlike Shikari though, rather than going for the throat at breakneck speeds, MARAT focuses more on the interplay between everyone, never really getting that fast but retaining heaviness most of the time to create some head banging epics. I don’t think I really do these songs justice by talking about them, you just have to hear them for yourself. All I can say though is the opener “The Dirt That Clogs The Cosmos” has easily one of the most infectious octave riffs ever.


Click )==>here<==( to download the band's complete discography in mp3 form.

2006 - Demo cdrEP

2008 - Facelift split cd (same songs as 'Demo')

2009 - Songs From the Crypt 7"EP (same songs as 'Demo')


(2009) MARAT - "The Dirt That Clogs The Cosmos" (from 'Tales From the Crypt')

(2009) MARAT - "As Close As We Get" (from 'Tales From the Crypt')

(2009) MARAT - "Sleepwalkers" (from 'Tales From the Crypt')


MARAT out of print mp3 discography download

(download here)

Tuesday, 18 April 2017

***PODCAST #18 w/Luther Griggs (WIMP CITY/SKETCHBOOKS)***

A few weeks back Luther Griggs came over to my place. We expected his band, Wimp City, to be playing alongside Solids this April 19th, 2017 at The Doors: Metal Pub & Taco Joint but unfortunately they've had to drop off the bill. This podcast that we did, however, is fucking awesome. It is without a doubt the most casual and interesting one I've done thus far. We played and discussed 13 songs between us, with a back and forth so aligned and dialogue that came so easy you'd think we've been friends for decades. Luther shone some additional light on the Hamilton punk and hardcore scene for me, including his aforementioned band along with his old screamo band Sketchbooks (that sounded a hell of a lot like Wolves!) and a bunch of others that I know almost nothing about. It was truly a pleasure and be sure to check out the Solids, Good Anya (last show), Flea Committee and The Ferns concert April 19th!!! Here is the link. And here is the link to Wimp City's bandcamp page.

Podcast #18 is broken into four parts, each approximately 20 minutes in length. You can stream and/or download each part or the entire thing for free on the OMSB Podcast bandcamp page linked right heeya.

FEMME FATALE - "Into Dust" (Luther)
CASSILIS - "God Hair" (Dave)

LOMA PRIETA - "Poverty Map" (Dave)
BLACK NAIL - "the vultures are waiting to pick yr bones" (Dave)
CERCE - "Intrusions" (Luther)
SANS VISAGE - "Sight" (Dave)
DEBT'D - "Out of Luck" (Luther)

BLOODPHEASANT - "I Am The Vulture and I Am Home" (Dave)
SHOPPERS - "IV" (Luther)
SOLIDS - "Fog Friends" (Luther)

12XU - "Terre D'inconnus" (Dave)
ANAMAI - "Altar Coals" (Luther)
HEATHERS - "What's Yr Damage?" (Dave)


Monday, 17 April 2017


GenresPunk / Hardcore / Screamo / Sludge / Noise
Related artistsPhoenix Bodies, Mara'akate, Hospital and Brighter Arrows.
CountryChesterton, Indiana USA
Years Active2016-present
Song: "Untitled 1"
Album: "Demo"
Year: 2017
For fans ofRayleigh, Phoenix Bodies, Cassilis, AnodyneSeventeen Again, Remote, Creeper, Graf Orlock, Furnace, Moxiebeat, Jesuit, Bucket Full Of Teeth, No Faith, Ruined Families and Callow aka PROPER SCREAMO.
Label(s): Self Released
This post's artist is from the April 2017 Mix. This is track #5.
You can download: the April 2017 Mix#4 right here or get the new May 2017 Mix#5 here.

Someone posted on facebook that Colin May had a new band so, naturally, I shit my pants, had a fit, incoherently tried to express my joy to my wife, downloaded it and then got it ready for posting almost immediately. Colin May is, simply put, a beautiful person. After meeting him at a Cleveland show for his band Phoenix Bodies in 2006-2007 on the La Quiete tour, we just seemed to hit it off. He has also spent time in Hospital, Mara'akate and Brighter Arrows but my heart with always belong to the grindy/screamo gods Phoenix Bodies. I interviewed Colin a few years back which is a good read and is linked here.

His new band VAC is one of sludgy and dark hardcore with some minor screamo influences, much like the first Rayleigh EP, Cassilis and Anodyne. The 'Demo' EP begins with "Untitled 1", a rowdy number that perfectly exemplifies what VAC is all about. The middle section from about 35 seconds to 53 is a sweet buildup that explodes afterwards in typical pre-2010 Colin May style. "Untitled 2" is soaked in feedback for 27 seconds and then the speakers explode in a raw, dirty and toxic mess that is sloshed around until 1:20 when the sewage catches fire and ignites in a poisonous cloud of sludgy hardcore. "Untitled 3" is easily one of my favourites, as it descends quickly into subterranean hardcore/metal, gathers forces and then ascends quickly with an army that wreaks havoc above ground from 40 to 60 seconds with dizzying instrumentals and monstrous vocals. "Untitled 4" opens with what sounds like a semi-improvisational noise outro to a live set, but by 50 seconds the ominous cloud that is VAC comes in full force, opting for strong Cassilis vibes, whether intentional or not. "Untitled 5" closes this debut and is the lengthiest song here, clocking in at 4:11. Just before the one-minute mark the guitars and distant yells (not unlike Derek Black) adopt a strong Phoenix Bodies feel, but this dissipates as the song continues to chug along, resembling bands like Jesuit, Anodyne and Creeper more than anything else. It's also worth nothing that this cover art is sick.

I can't wait to see what's next!



2017 - Demo digitalEP (stream/donate/download here)


(2017) VAC - "Untitled 3" (from 'Demo')

(2017) VAC - "Untitled 1" (from 'Demo')


VAC additional links


Sunday, 16 April 2017

***THE WORLD THAT SUMMER split 10" release show***


We had a release party for THE WORLD THAT SUMMER's 10" on April 8th at Clarke Hall in Port Credit, which is just outside of Mississauga by our friend Daniel G. Wilson. Twas a very fun show in a big hall with a few friends and new faces. Terry Green and The World That Summer will be playing together again on May 27th at another house show in Hamilton as a final local show before Dave moves to New Zealand, thus concluding his/my chapter in the band. Please grab a copy of THE WORLD THAT SUMMER's split 10" with Sweden's Nionde Plågan from Zegema Beach Records (should you reside in Canada) right here so I can afford to put out this Terry Green LP.

As soon as this duo started and those crazy drums collided with the slap-happy bass I knew what I was in for, and I was stoked about. I think I read these guys play semi-improvisational punk/jazz and that's pretty much exactly what I heard. Combining the off-time madness of Hella, the improv jazz of Ahleuchatistas and the bass as well as vocals of Primus, I think pretty much everyone in attendance was in a bit of a stupor watching well as the guy in the front dancing up a storm. Awesome.
FFO: Hella, Ahleuchatistas and Primus

Sounding somewhere between punk rock, jazz rock, surf and post-hardcore lie NEVER TRUST A WIZARD. I'd never heard of this band before but they fucking blew me away. I'm very interested to know if the band has heard of Drummers, Ultra Dolphins and North Of America because that early 2000s, spazzy, yelly and dare I say emo/screamo influenced rock music and hardcore punk hybrid. I would love to see these fellas again, as all three members mesmerized. Be sure to check out that riff that starts at 49 seconds and again at 1:20 in the video embedded below, it's killer!
Links to songs: *2* / *3*
FFO: Fugazi, Drummers and North Of America

We played. It was fun. We started by playing the three songs from the new split 10" with Nionde Plågan (stream here / buy here) in reverse order, so "Moth Volcano" (which we'd never opened with, for some strange reason), "Heat Death Parties are the Bomb, Man" and "What is Dead May Never Die". Then we play "No Hugs for Lucas" from the upcoming 2x12" 8-band split that Zegema Beach Records is spearheading and should be up for pre-order by May 2017. After playing these songs we opted for newer material, playing our three unrecorded songs "2028", "Voltron Division" and our newest and last song with our original lineup "La Fine Non è la Fine". This newest song is post below and has some really good energy, but it's a work in progress so bear with it. We have a house show for my goodbye Hamilton thing with Terry Green and Huge Cosmic coming up on May 27th so more info on that soon.
Links to songs: "Moth Volcano" / "Voltron Division"
FFO: Rinoa, Amber and Black Love

We are on the cusp of the TERRY GREEN full length LP. I have the tracks and the art so we'll be going to print in April for, hopefully, a June/July release date. These four friends of mine played their new record titled 'LP' from front to back, which means they played the songs "One", "Two", "Three", "Four", "Five" and "Six", a very simplistic naming formula. The record itself was mastered by Will Killingsworth and sounds unreal. You can check out a song from the LP on the Zampler #8 (linked here) titled "Michael Soft Sam" but in actuality is song "One". This was a killer set, with the vocals turned up nice and loud, passionate playing by all, bloody fingers as well as Matt and Louis beating the shit out of their respective axes after playing "Six", which they've only ever played live like...twice or something. I've linked that one below but you can also jam "One" and "Two" below the embed.
Links to songs: "One" / "Two"
FFO: Gillian Carter, Van Johnson and Panthers

Thursday, 13 April 2017


GenresPunk / Post-Rock / Post-Hardcore / Emo / Emotive Hardcore / Screamo / Skramz / Shoegaze / Prog
Related artistsLoma Prieta, Beau Navire, Sailboats and Yearbooks.
CountryOakland, California USA
Years Active2015-present
Song: "Cold Hands"
Album: "Elle"
Year: 2016
For fans ofLoma Prieta, Beau Navire, Raein, Trachimbrod, Suis La Lune, Subjects/Rulers, Altar Of Complaints, Cease Upon The Capitol, Funeral Diner, Via Fondo and Animal Faces aka PROPER SCREAMO.
Label(s): Conditions Records
This post's artist is from the April 2017 Mix. This is track #9.
You can download: the April 2017 Mix#4 right here or get the new May 2017 Mix#5 here.

It certainly seems fitting (or perhaps even planned...) that the late-era Loma Prieta side project ELLE is being posted directly after my pre-Loma Prieta band post for Sailboats. Although both bands capture the sound of Loma Prieta, it's pretty damn obvious that those good folks have been jamming a lot more shoegaze and noise rock (I'm guessing stuff like Whirr, Solids and later Animal Faces) and a lot less screamy hardcore. ELLE falls more in between the extremes than Sailboats, as their 2016 debut EP 'Elle' captures the raw and passionate feel of screamo (generally through the screaming, but the instrumentals could also be likened to Raein, Loma Prieta and Cease Upon The Capitol) as well as the dreamy soundscapes of shoegaze rock. The leaning toward shoegaze is most evident on tracks like "The Clearing", "Mockingbirds" and "Parts & Parcels" while the screamier, more Dave-stuff is saved for "Pulse" and "Cold Hands".

I was sent the ELLE EP to review by Kris at Conditions Records but was already aware of the band and was planning on doing a post anyhoos. I find that "The Clearing" has a catchy as fuck intro that isn't maintained and therefore seems to sag in the middle. "Mockingbirds" is so late-era Animal Faces I truly wonder if they were influenced by the Toronto legends. "Pulse" is track three and a killer song, boasting some twinkly riffs amidst rolling drums and bass (aka Loma's "Biography" and Beau's "One So Illusive") over passionate spoken word that leads to yelling/screaming. The song bounces around somewhere in screamo limbo and takes on a bit of a Swedish screamo feel, most notably Trachimbrod and Suis La Lune. "Parts & Parcels" is next and is a pretty screamy affair and definitely matches the opening song as sounding like "Loma-light", if you will. Closer "Open Hands" is probably my personal favourite, clocking in at 5:01. The song wastes no time delving into their quickest material that dissipates after 30 seconds like a quiet, calm and soothing rainfall. By one minute things pick up again only to lead into a severely groovy and head bobbin' good time from 1:10 to 3:00 although it slowly erodes during that time frame until the rock is so abrasive that the song quickly and quietly dies. This song in particular reminds me most of the chiller moments of Beau Navire. The final two minutes is reserved for the dissolution and dispersement of those dead sounds as they fade into nothing.

I am keen on hearing new output by the band so hopefully we are graced with another release in 2017. Until then pick up the self titled 12" EP from Conditions Records here.



2016 - Elle 12"EP (stream/buy here) [order the 12" here]


(2016) ELLE - "Cold Hands" (from 'Elle')

(2016) ELLE - "Pulse" (from 'Elle')

(2016) ELLE - "The Clearing" (from 'Elle')


ELLE additional links


Wednesday, 12 April 2017


GenresPunk / Hardcore / Emotive Hardcore / Screamo / Emo-violence / Skramz
Related artistsLoma Prieta, Elle and Beau Navire.
CountryBerkeley California USA
Years Active2003
Song: "2"
Album: "Demo"
Year: 2003
For fans ofTextbook Traitors, Loma Prieta, Seyarse, Beau Navire, Blue Friend, Sleeper Wave, Yusuke, Kelut, Birthday Boyz, Love Lost But Not Forgotten, A Company Of Heroes, Neil Perry, Jeromes Dream, Deers!, Isodora Crane, Cease Upon The Capitol, Lord Snow and Means To An End aka PROPER SCREAMO.
Label(s): Self Released
This post's artist is from the April 2017 Mix. This is track #2.
You can download: the April 2017 Mix#4 right here or get the new May 2017 Mix#5 here.

SAILBOATS? You mean, that SAILBOATS? The pre-Loma Prieta SAILBOATS? The band that released a mere two songs but are still talked about nearly a decade later and everyone is still shitting their pants, SAILBOATS? Yes. that SAILBOATS.

"Behind Trees" is the first song that opens with a nice, lengthy drum roll and sporadic, dreamy guitars. This lulling intro remains patient as long as possible but by 45 seconds the drums speed up like crazy, the guitars and bass crash in along with the high pitched shrieks found on the first Loma Prieta 7". The final 40 seconds are pummeling slices of emo-violence that is as heavy as it gets here. The perfectly balanced juxtaposition of blatantly violent screamo with strong melodic undertones is likely the reason this band is still discussed with mouths agape. "2" is my jam, holy fuckeroo. The first 20 seconds has isolated as well as combined guitars and drums that build quickly without much variation and eventually meet up with everything else as the noise is erupts like the grim reaper travelling at lightspeed through a densely populated area. The sheer abrasiveness of this song is uncanny, which brings obvious comparisons in my brain to screechy veterans Textbook Traitors and Seyarse, both mid-2000 era bands. Seriously, you can't get much better than this, as is showcased by the gorgeous timeshift at 1:22, subsequent bass/guitar interplay as well as the climactic, screamy and breakdown-laden conclusion.

The download version of most SAILBOATS includes two additional tracks that are not by SAILBOATS and, quite frankly, aren't very good. For this reason I have left them out of the mp3 download below, but should you really want to hear mediocre songs by a band that is not SAILBOATS then by all means, go ahead. There are also rumours of an LP which was written and recorded but never released, but I highly doubt that. Apparently Loma Prieta refers to SAILBOATS as Behind Trees and have been cited as teasing fans live by playing a few SAILBOATS notes randomly at live shows.

If you've never heard SAILBOATS you are in for a treat. This shit is awesome, and it truly is a damn shame that these two songs are all we have to hold on to.



2003 - Demo EP (download here)

(2003) SAILBOATS - "2" (from 'Demo')

(2003) SAILBOATS - "Behind Trees" (from 'Demo')

(200?) SAILBOATS - "Hunted Castle" (from '???')


SAILBOATS out of print mp3 discography download

(download here)

Tuesday, 11 April 2017

***TRAGEDY, THE premiere/interview***

GenresPunk / Hardcore / Post-Hardcore / Emo / Metalcore / Post-Metal
Related artistsThe World That Summer, You, Me And The Machine, Monster Fever, Go-Go Gorillas, Your Least Favourite Friend, The Serpent And The Siren and Randall Minus One.
CountryExeter/London, Ontario CANADA
Years Active2003-2008
Song: "Black Quills in Flames"
Album: "Prologues"
Year: 2008
For fans ofCircle Takes The Square, Ed Gein, PG.99, The World That Summer, City Of Caterpillar, Thursday, The Expectorated Sequence, Jude The Obscure and Hank Chinaski.
Label(s): Self Released
This post's artist is from the March 2017 Mix. This is track #9.
You can download: the March 2017 Mix#3 right here or get the new April 2017 Mix#4 here.

I have a friend named Jesse Stratton. He is many things. One of which is a drummer. We met at a Life In Vacuum and Joliette show at the now displaced Homegrown Hamilton, linked here. The show was on August 4th, 2015 and by October 22nd of that same year we had our first show in a band together, called The World That Summer. Somewhere in August when we started our five-person collection of beards, we created an online chat group and discussed influences and whatnot. We also mentioned bands that we are/were active in. Jesse mentioned that in addition to his current rock/pop You, Me And The Machine as well as a Halloween pop group Monster Fever, he played drums for two years in a screamy hardcore band in the mid-2000s called THE TRAGEDY. I harassed him enough that not only did he send me the songs, but he also answered some questions I had about the band, touring and the album that was never properly released...UNTIL TODAY!!! That's right...

This is the premiere of the THE TRAGEDY's 'Prologues' LP, recorded back in 2008.

Honestly, I find THE TRAGEDY very difficult to describe, as they combine elements of emo, metalcore, post-rock, post-hardcore and a tad of screamo but never just one of them, it seems. Jesse mentioned relatively obvious influences such as Circle Takes The Square and Ed Gein, as well as other inspirations like City Of Caterpillar, The Number Twelve Looks Like You, From Autumn To Ashes and I Hate Sally. The song "A Forty of Jack and the Creature from the Black Lagoon" from the 2007 'Run Girl, Run' is probably my favourite of the band's songs, as it is the heaviest, fastest and hardest of all of their stuff. Featuring maniacal screaming and gutteral growls, the grindy metalcore is closer to Ed Gein and The Expectorated Sequence than anything I would label as post-hardcore.

Here is the part where I review the 'Prologues' LP. Opener "Black Quills on Sorrowed Wings" goes for a piano intro before transitioning into some nice post-hardcore with dual snarling and screaming from the one-to-two minute mark. By 3:30 we are met with massive chugs that bring us to the spacey, epic and explosive conclusion. "The Fields of Autumn" is pretty lengthy, clocking in at 7:41. The first two minutes are a driving post-rock/emo buildup with passionately spoken/screamed vocals and is easily one of the highlights of the album. The song continues through a vast amount of parts, genres and moods, generally opting for a juxtaposition of screaming and chill, post-rock instrumentals that sometimes veer into post-hardcore territory. Not all that different in form and execution, "Angels in the Oilfields" follows at a whopping 10:33. This track begins with a very somber opening, eventually incorporating distant, spoken-word vocals and some subtle singing. By 3:30 the vocals and instrumentals begin a noticeable trek uphill until they reach the peak at 5:30, take in the view and begin an angry descent back down at 6:13 that gets pretty wild after 6:30 and reaches its climax post-7:00. "The Sun in the Sewer Grate" begins like early 2000s post-rock/emo with a splash of post-hardcore that includes some very cool drums and clean guitars from 1:17-1:33. Afterwards the song takes a slightly heavier approach but generally relies on avoiding distortion so it's got a slightly Storm The Bastille feel on the one instrument, in particular, but the song itself comes across like Sunny Day Real Estate mixed with early The Juliana Theory and is cool but the lyrics are almost crazy number driven. What must be the centerpiece of the album, "The Monolith" is as imposing as the title suggests, weighing in at 8:48, it begins not unlike a punkier and less metal Respire. Over its duration there are certainly a myriad of styles and angles going on, but this song is known to me for one thing more than anything else, and that's the massive explosion and subsequent fallout of the band's heaviest material ever recorded. It also happens to be mine and Jesse's favourite. This pummeling metalcore section is birthed halfway through, but really hits full steam at 5:29 with demonic shrieking followed by chugs on speed and the repetitive chanting of "light it up!" that peaks right before seven minutes. "The Battle of St. Jude" is has more singing but that's buried beneath hellishly dark breakdowns and...what is that? Synths or a choir? Whatever it is, it works. Closer "Black Quills in Flames" is an excellent representation of what the band was able to do. Despite being recorded last, this thing sounds pretty powerful and definitely a fitting closer, although "The Monolith" seems like a more obvious choice, but then again I don't know the story or the lyrics so shutup, me.

There you have it. Well, my opinions, at least. Below are some facts according to Jesse, who was kind enough to answer 10 questions about THE TRAGEDY. If you crave and need more Jesse we also did a podcast together that you can stream/download for free right here.

1) Tell us about the origins of THE TRAGEDY from your perspective.
The Tragedy actually began as The Tapdance Tragedy in Exeter, Ontario around 2003. Founding members Clint, Derek, Martin and Mike. The band played mostly parties and other similar low-key shows. They did manage to host a successful one-day "fest" at the Exeter Agricultural Building. After high school, Clint, Derek and Martin moved to London to go to college/university and continued as a three-piece. Clint switched from bass to lead guitar and they replaced the original guitarist (who stayed in Exeter) with Darren on bass.

2) What led to you joining the band?
The band was refining their sound and that required a different style of drummer. I was listening to a lot of screamo/post-hardcore at the time and had always expressed interest in playing with them if the opportunity arose.

3) Was the style (and what style would you call it?) one you were comfortable with and listened to?
I think the sound could be attributed to post-metal, post-hardcore, screamo and the like. It was certainly a lot more thematic and heavy compared to some of the more contemporary, main-stream screamo I was listening to, but the challenge of playing drums in a band like that was what really drew me in. The energy was also incredible. We routinely exhausted ourselves during live performances because we all put so much into the songs, physically and emotionally.

4) What were the band individual and collective influences? Did these tend to clash or bring the music together?
Early on (as with most bands) individual influences came from all over the place including classic rock and metal, jazz, punk rock and progressive metal. However, as the band discovered other acts such as Horse the Band, Ed Gein, Circle Takes the Square and Heavy Heavy, Low Low a much more definitive sound took shape. Certainly, around the time that the lineup started changing, there were conflicts of taste. I think that's why once Darren and I joined the band everything really clicked.

5) What kind of bands did you play with? Any interesting show stories?
We played with a lot of local London and surrounding area bands at the time (2006-2008). From what we can recall, we played with bands like Nothing Left for Tomorrow, Fuck the Facts, Jakartah, A Dying Melody, Pardon My Goat and Farewell to Freeway.

6) Tell us about THE TRAGEDY’s recorded material. What about physical releases?
There was a 4 song demo (files are lost) with the original drummer, plus a 2 song "E.P." called 'Run Girl, Run' which featured the song "Forty of Jack and the Creature from the Black Lagoon". The full length LP 'Prologues/Self Titled' only ever saw self-produced burnt CDs and shared MP3 files. The copies that exist are rare! 

7) Can you tell us about the recording process for each release?
'Run, Girl Run' was recorded in my basement bedroom in college and actually turned out pretty good despite the rush it was done in. 'Prologues' was done in Derek's basement and took a lot longer. We didn't use a click track, but every song started with tracking drums along to the lead guitar. Once we had those tracks, everyone else played along to their part through headphones. There were some challenges along the way. "The Battle of Saint Jude" goes way off-time at the end due to the lack of a click...and on "The Monolith Part 2" I actually had to record the double-kick pedal in one part using my hands as I wasn't able to play at the correct tempo consistently... 

8) What led to THE TRAGEDY’s dissolution?
In my opinion there were a number of factors and it all built up over a long period of time...probably 6-8 months. Firstly, there were different levels of commitment from different members. Some of us wanted to try to commit our full efforts to the band (i.e. giving up school/work/relationships) and others did not. There were internal conflicts regarding lineup, recording methods and personal relationships. The best times were had rehearsing and playing live, while all of the politics of being in a band became a chore. Once the LP recording was finished and three of us were set to graduated, the band was pretty much done. 

9) In hindsight, how did THE TRAGEDY impact your life and influence your future musical tastes and endeavors?
The band I started playing in prior to The Tragedy had been experimenting with some heavier sounds, but ultimately The Tragedy introduced me to a whole bunch of stuff I had never heard of before. The level of emotion and passion involved with writing and playing was tremendous. I started listening to a lot more screamo and post-hardcore and immensely improved the technicality of my drumming. 

10) What are you up nowadays? In the upcoming future?
Currently I'm playing drums in The World That Summer, and a multi-instrumentalist/vocalist for Your Least Favourite Friend which is an indi-pop/rock project with some of the guys from my old band You, Me And The Machine. Clint went on to found The Serpent And The Siren which you should check out.


Click )==>here<==( to download the band's  almost complete discography in mp3 form.

2005 - 4-Song Demo EP forever lost :(

2007 - Run Girl, Run cdrEP

2008 - Prologues digitalLP

(2007) THE TRAGEDY - "A Forty of Jack and the Creature from the Black Lagoon" (from 'Run Girl, Run')

(2007) THE TRAGEDY - "Black Quills on Sorrowed Wings" live video

(2008) THE TRAGEDY - "The Fields of Autumn" (from 'Prologues')

(2008) THE TRAGEDY - "The Monolith" (from 'Prologues')

(2008) THE TRAGEDY - "Black Quills in Flames" (from 'Prologues')


THE TRAGEDY out of print mp3 discography + extras download

(download here)