Saturday, 4 April 2020

Bloodlet - Viper In Hand

Labels: Translation Loss Records
Formats: Vinyl/Digital
Release Date: 20 Dec 2019


1. Viper In Hand
2. Choking On The Peat

Many people will remember US hardcore band Bloodlet for their 1995 Victory Records album Entheogen (later re-released by A389 Records on vinyl in 2014) and there Embrace 7" (that was also released via A389 Records in 2014). Fast-forward nearly six years and Bloodlet found their way out of the wilderness with the release of Viper In Hand via Translation Loss Records, in late December 2019. There isn't much else I need to say about this band. Hope you enjoy.

Bloodlet was never a run of the mill hardcore band. Entheogen had a sludge backbone and that’s carried through to Viper In Hand. The title song may sound like they’ve been paying very close attention to recent day Lamb Of God or Pantera, but it’s still got their own DNA flowing through it. There’s off-kilter hardcore tempos and lumbering sludge riffs all playing their part.

‘Choking On The Peat’ is no different, with more of an instant metal or even early-metalcore feel. That might be pigeonholing it a bit too much but that’s what strikes these ears. The most obvious thing about Bloodlet on this release is their off-kilter song-writing, as mentioned above, which is why it makes complete sense for them to have found a home on Translation Loss Records. There’s experimentation here and something a bit different to the norm. 

There have been some differing reviews/opinions about this release but taking it on it’s own merit, it’s solid. Many people won’t be able to see past early Bloodlet but they need to realise that things change and so do people. If we stay still, we get left behind. This is evolution in one way or another.

Stream and digitally purchase Viper In Hand below:-

Grab a vinyl copy from Translation Loss Records here -

Friday, 3 April 2020

Tetola93 - Tetola93

Labels: MeatCubeLabel/Zegema Beach Records
Formats: Vinyl/Digital
Release Date: 20 Jun 2014


1. Nagasaki Nightmare
2. Take Away The Life There Is No Right
3. Falsified Habit
5. Dying In One's Corrupt Country
6. Uninstall
7. Meritocracy
8. 'Someone'
9. End Of The Scorching Heat
10. Anti-Japanese Newspaper
11. Karma
12. Sinks In Marsh
13. R vs Hippie
14. Funeral Procession

After nearly ten years of writing this blog, I still come across records that I think I've already written about, even though I keep an up to date list of everything I've featured release-wise. That thought occurred when I was sitting down to write this one, as I realised I hadn't picked up my Zegema Bean Records series in a while. Tetola93 was a Japanese band that was active between 2003 and 2014. They release a few demos, a couple of split CDs and this LP, which was jointly released via both MeatCubeLabel and Zegema Beach back in 2014. As a side note, David Norman (ZBR) has started posting Youtube videos about his releases starting from the very beginning (you should definitely check them out!), so chances are he will have talked about more over the next few weeks than I've written about since this series started!

I’m super happy to be picking this series back up and I’m sorry for the pause in it recently. This should be a fun release to help get things underway again. I slept on this album when it first came out and I’ve got a feeling I’m going to regret that big time after this. Opener ‘Nagasaki Nightmare’ is a weird intro-type song with glimpses of the band’s screamo nestling alongside electronic additions. ‘Take Away The Life There Is No Right’ is more like it, it’s heavy and violent with crazed vocals. 

There’s still a strange heap of electronics going on and like the previous song, they’re present on ‘Falsified Habit’’. There’s also clean singing too, which adds to the madness.. I don’t now a great deal about the history to Tetola93, beyond what I said in the review’s opening paragraph but being a fan Japanese heavy bands, this is scratching the itch for the chaotic. They switch between intense grind and post-hardcore singing at the drop of the hat on ‘OVID’, where there’s plenty of variation throughout the guitar work and overall performance.

‘Dying For One’s Corrupt Country’ is a mash-up of many heavy sub-genres and yet it still seems to retain that characteristically traditional sound that’s consistent across many Japanese bands. I think it’s a cultural thing but it’s what makes them unique, as with other scenes from around the world, The digital-like sound is back on ‘Uninstall’, which is quite apt given the song-titled. It speeds by in no time, yet seems to last longer than it’s ninety-second running time. 

This record is certainly a journey but beneath it’s seemingly unrestrained noise, there’s a clear musical understanding and really clever song-writing. ‘Meritocracy’ has a kind of fast/slow dynamic, but it’s not that obvious while ‘Someone’ contains a hip-hop beat and unnerving nursery rhyme-style jingle laid on top of glitchy vocals. As I said earlier, Tetola93 doesn’t just mess with one genre. It pulls you into the album’s second-half and into the post-hardcore brilliance of ‘End Of The Scorching Heat’, which is a bizarre mix of pop and abrasive hardcore. 

‘Anti-Japanese Newspaper’ is the most metal-orientated song on the album and it contains some very soothing female choral singing at the start. ‘Karma’ brings back the craziness and it sparks a final quartet of songs that are lengthier and more menacing in places. They use an introspective mid-section on ‘Karma’ to break up what is probably the most violently intense song on the record. 

I just don’t know what to say about ‘Sinks In Marsh’ that hasn’t already been said about Tetola93. It’s just mental and there seem to be elements of death metal in it, which is cool. Once again, there’s a break in proceedings on penultimate song ‘R vs. Hippie”, which is another hip-hop like interlude of sorts, which goes through multiple movements with spoken word samples, classy piano and other electronic layers that build and fade. It’s actually quite stark and beautiful.

Despite it’s name, final song ‘Funeral Procession’ isn’t as mournful as you might think. It starts with a child’s voice and more lovely piano before Tetola93 explodes into one final, huge blast of violent post-hardcore. This song seems more emotional than the rest here and it strips back some of the more extreme elements of the band’s sound, for brief moments. It’s a heart-wrenching yet rousing way to finish an album that darts in so many directions. I do indeed regret sleeping on this following it’s initial release. At a time when mathcore and screamo are coming to the fore almost exponentially, this record should be on everybody’s playlist.

You can stream and purchase Tetola93 directly from the band below:-

Physical copies are sold out from both labels.

Wednesday, 1 April 2020

Staghorn - Corvus IV

Labels: Self-Released
Formats: Digital + Special accompanying Comic Book physical release
Release Date: 20 Mar 2020


1. Torch
2. Lux
3. Rahula
4. Samsara

Over last few weeks there have been stories and personal accounts of how pollution is being reduced and how animals are reclaiming parts of the land due to current isolation measures. That is a great thing and shows how the planet can benefit from less human consumption and impulsiveness. Ethical  US post-rock/metal band Staghorn is a project constantly striving for these kinds of outcomes, all while consciously ensuring that it's own footprint is reduced to a minimum and it's message is delivered to as many people as possible.

Having released it's first album Parousia I - Kismet II in 2015, then came the lengthy process of writing and delivering second album Wormwood III in late 2019. The band has now returned with Corvus IV, as well an accompanying instrumental version. This release carries on the story set out in those previous releases and brings a new element to their art. 

Staghorn tells a story of the earth and how the human race is destroying it. That story is told straight away with a spoken-word piece at the beginning of ‘Torch’, the album’s opener. It’s followed by an instrumental made up of slow crashing percussion and thunderous riffs in the vein of doom, but with melody amongst them that provide light. The birds singing on ‘Lux’ and the gentle musical tones deliver a relaxing feeling. Musically, it’s layered in such a way that it doesn’t sound over-the-top or twee. Heartfelt is the best way that I can describe it. The minimal use of vocals also allows the instrumentation an extra depth of texture, allowing everything to be brighter and more airy. 

‘Rahula’ is a song that again breeds calmness, as the whispered/gentle vocals sit within the instrumentation as opposed to on top of it, lulling you into a false sense of security before Staghorn’s dissonant heaviness and the additional vocals of Drew Speziale of Circle Takes The Square take over. It’s a drastic but beautiful contrast. Closer ‘Samsara’ ends Corvus IV as it started. Grippingly emotive spoken-word is later joined by gentle piano and ambience in a song that makes up over half of the album’s complete playing time and it’s here that you really get perspective and time to reflect on the band’s message and on what you can do yourself to be better. It builds, plateau’s and leaves as it entered. 

Even on it’s own, this album is incredibly thought-provoking and inspiring. The music is performed excellently throughout and there’s no moment where it loses momentum. If ever there was a time to better yourself and do the right thing for the land we’re tenants on, now is it.

You can stream and purchase Corvus IV via Staghorn's bandcamp page below:-

The band has also made an instrumental version available too:-

Saturday, 28 March 2020

Obroa-Skai/Ysidro and Eux/Ysidro Split Premieres

It's safe to say that it's been a bit of tumultuous year so far. There's one thing you can always rely on though and that's that bands keep on releasing great music, especially those who're new and more independent. This brings me to Californian USA) band Ysidro, who're releasing two splits today via digital platforms with friends Obroa-Skai (Canada) and Eux (France) respectively. It gives me great pleasure to be able to share both splits with you this evening.

Ysidro has been a project for about two years now and it's members are great friends, having played in/or currently play in notable screamo/emo/hardcore acts including Beau Navire, Lewd Acts, Nuvolascura and Elle amongst others. Both of these splits contain Ysidro's first recorded output.

Obroa-Skai from Edmonton (Canada) released a self-titled EP at the beginning of last year. They play screamo/harsh noise. Their drummer is/was in Mahria (who did an awesome split with Todos Caeran).

Eux (Paris, France) released their first record Et Les Autres in 2018 and their side of the split with Ysidro is their first music since then. They toured the UK/EU with Crowning/Swallows Nest last year. They play screamo/punk.

Obroa-Skai/Ysidro Split Tracklist:-

1. Obroa-Skai - Solastalgia
2. Obroa-Skai - Holocene Extinction
3. Ysidro - Haight
4. Ysidro - I Actually Woke Up In A Car

The Obroa-Skai side of this split can be streamed below:-

The Ysidro side is also available for streaming here:-

You can purchase the songs digitally from both bands, which will help towards the physical release.

Eux/Ysidro Split Tracklist:-

1. Eux - The Shame
2. Ysidro - Paris

You can stream and buy the tracks below. Any purchases will help towards the physical release later this year:-

Due to the current global situation, both of these splits are being released digitally now and will be available in physical formats at a later date as mentioned above.

Eux -

War Dogs - Die By My Sword

Labels: Fighter Records/Witchcraft Records
Formats: Vinyl/CD/Tape/Digital
Release Date: 09 Jan 2020


1. Die By My Sword
2. Castle Of Pain
3. Wings Of Fire
4. Master Of Revenge
5. Kill The Past
6. Ready To Strike
7. The Shark (feat. Bryan 'Hellroadie' Patrick)
8. The Lights Are On (But Nobody's Home)
9. Gorgon Eyes
10. Wrath Of Theseus

Relief is very much needed this evening. Having said that, it does feel strange talking about a Spanish band given how hard that country has been hit over the last couple of weeks. Valencian heavy/speed metal band War Dogs released their debut album Die By My Sword via Fighter Records back in January on vinyl and cd, while they worked with Witchcraft Records on a tape version. It follows their self-titled debut EP, which came out in 2018. 

If Zorro fronted a band, it’d sound like War Dogs. That’s not being disrespectful, it’s just the image that’s conjured when hearing this album’s title-track ‘Die By My Sword’. It’s melodic, skilfully played speed/traditional heavy metal with cleanly sung vocals that remind you of the character himself. It’s said that War Dogs contain elements of power metal and they may well do, but it’s not that obvious to these ears (maybe I’ve not listened to any power metal in a long time). What is obvious as ‘Castle Of Pain’ plays is that catchy instrumentation is something that this band does very well.

Speed metal is the overriding element throughout this album and ‘Wings Of Fire’ is where it’s at. The exhilarating intro that goes on for over sixty-seconds is perfect and leads to an equally frenetic song as a whole. I do enjoy this form of heavy metal but feel that sometimes albums can become quite staid and boring. So far, that’s not the case here as musically this is top notch. ‘Master Of Revenge’ is so upbeat and enjoyable, it makes you forget about all of the madness going on in the world right now. Even when it’s riffs become more chug-laden mid-way through, they still add to the excellence on show. 

As the metal drowns out the incessant noise made by my neighbours, the galloping tempo of ‘Kill The Past’ takes over. It’s a song that goes by in a flash of razor-sharp riffs and bass-lines, pounding percussion and soaring dual-vocals. Before you know it, you’re in the grips of ‘Ready To Strike’, which is another cleverly titled song as War Dogs really are ready to strike as they truly settle into the record. This is brilliant from start to end. They truly take on another form on ‘The Shark”, which features additional vocals from Bryan ‘Hellroadie’ Patrick of the legendary Manilla Road. It’s much more fantasy based, especially in the lyrical department but it’s also great fun and kind of reminds me of GWAR, maybe!

Things take on an Eastern form thanks to the vocal melodies of ‘the Lights Are On (But Nobody’s Home’). They’re very subtle tones but they work and add an extra element to the heavy metal of War Dogs here. Penultimate track ‘Gorgon Eyes’ picks up the pace again, making great use of the momentum gained throughout the album. It’s the shortest song here, which is the reason for the urgency and it works really well too. 

That momentum flows straight into album closer ‘Wrath Of Theseus’ and it’s the last chance you have to enjoy the pleasing heavy metal of War Dogs. There aren’t many opportunities to indulge in such pleasures at the moment but this is one of them and I’ll be damned if anything’s getting in the way. A great modern heavy metal album that deserves more attention. 

You can stream Die By My Sword and purchase it super cheap digitally below:-

You can buy the album on CD and vinyl from Fighter Records here - and on tape via Witchcraft Records here -

Monday, 23 March 2020

This Ends Here - The Last Hundred Years

Labels: Self-Released
Formats: Tape/Digital
Release Date: 21 Dec 2019


1. The Beast Is Dead
2. The Last Hundred Years

Wherever you're reading this, I hope you're safe and that your ensuring the spread of the virus is reduced as much as possible. If I didn't have to go to work, I'd be doing exactly the same. Sadly though I do, which means that while I'll still be posting reviews here, there won't be as many as I'd like. The band and also the music I'm writing about this evening seems very apt though. Bristol (UK) blackened post-metal/hardcore band This Ends Here released a new tape back in December, featuring two new songs. It's been over two years since their last material (the split with Wolfbeast Destroyer), so it couldn't come at a better time.

The Last Hundred Years sees This Ends Here writing and performing more expansive music. Their crust-like sound has been joined by atmospheric post-metal and lengthier instrumental passages. ‘The Beast Is Dead’ is nearly twelve-minutes in length and as such, it’s a slow building collage of heaviness, with vocals sitting deeper within it. It’s best turned up as the volume of the recording is a little quiet, but that doesn’t let it down at all. I can’t really compare it to anything else, as nothing similar springs to mind at this point. What I can say is that for someone that hasn’t listened to a great deal of music over the last couple of weeks due to lack of energy (both physically and mentally) this release is exactly what’s needed.

If first song ‘The Beast Is Dead’ was more on the sludgy side then the title track ‘The Last Hundred Years” takes more from the band’s crust influences that bring added tempo to the music in parts. It’s still cinematic, but the edge that’s afforded by that punk music is obvious to hear. It’s strange to say that despite the heaviness on show, there’s something very relaxing about this release, which must come from it’s atmospheric backbone. There’s plenty of music nestled within these two tracks, meaning there’s enough to get you through even the loneliest of nights. Great stuff!

You can stream The Last Hundred Years below, where you can also purchase it on tape and digitally:-

Saturday, 21 March 2020

Misanthropic Aggression - Alcoholic Polyneuropathic Freaks In Hell 7"

Labels: Boris Records
Formats: Vinyl/Digital
Release Date: 20 Apr 2020


1. Alcoholic Polyneuropathic Freaks In Hell
2. Retired From Life (Last Day Of Work)
3. Blacklisted

I finally have enough energy to write again. Sorry for the radio silence over the last week. I didn't have the big-C but the effect it's having on society is obvious to see. The Prime Minister announced earlier that all bars, pubs, clubs, restaurants and other social spots need to close from midnight tonight, to help reduce the spread of the virus. This is massive for bands, fans and for society as a whole. Of course, it was always going to happen but announcing it as late as they did on a Friday means that everyone's going to party as if it's their last night out ever. 

I've had my fill for the evening and my party involves the brand new 7" from Atlanta (USA) black-death thrashers Misanthropic Aggression. The band was formed in 2015 and released their first demo in 2017. They released the Inability To Cope EP the following year via Boris Records, whom they're working with again for this new release. 

Opening with a spoken-word sample that brings to mind American doom-sayers, Misanthropic Aggression launches into title-track ‘Alcoholic Polyneuropathic Freaks In Hell” with some sludge-like riffs that flow into deathly black-thrash. The riffs and blasting percussion are joined by hellish vocals of both the low and higher-pitched variety, leaving no time for respite. It’s catchy though and awesomely old-school.

‘Retirement From Life (Last Day Of Work)’ is a heady mix of slow death metal and cold black metal. The tempo does increase toward the latter half and it becomes a grooving mess of extreme madness that ends abruptly. Closing song ‘Blacklisted” hits the spot in terms of tempo and upbeat riffs. That’s not to say it’s an easy-listen but M.A. does make it a fun one. In fact this is probably the most fun number on the 7”. 

This EP definitely contains a huge element of that old-school heavy metal vibe, which makes it’s infectious spirit even more enjoyable. Extreme music doesn’t have to be all evil and anti-life. M.A. are great fun and this EP proves why.

You can stream the title-track below via Boris Records on bandcamp:-

The 7" is also available to pre-order in both physical and digital formats via Boris Records above.

Sunday, 15 March 2020

Cryptic Shift - Visitations From Enceladus

Labels: Blood Harvest Records
Formats: Vinyl/CD/Tape/Digital
Release Date: 04 May 2020


1. Moonbelt Immolator
2. (Petrified in the) Hypogean Gaol
3. The Arctic Chasm
4. Planetary Hypnosis

With the world heading for what could be inevitable global lockdown, a new beginning on far away planets makes perfect sense. Space dwelling death metallers Cryptic Shift think so, which is why they're about to release their debut full-length via Blood Harvest Records on May 4th. From their humble physical beginnings in the West Yorkshire city of Leeds in 2014, they released several demos, singles, an EP and a split, honing their live sound as they went. They're now ready to spread their cosmic technicality across the galaxy on all formats, including random flying disc!

Visitations From Enceladus begins with real intent in the form of the huge ‘Moonbelt Immolator’, which is spread across twenty-five+ minutes of sprawling technical death metal. The opening bars are made up of guitar passages that come and go amongst electronic interference of sorts. Cryptic Shifts’s full assault soon kicks off though with a mix of death metal akin to bands like Atheist and DBC. Cyborgs seem to take over at times during the song, with vocal effects that fit perfectly amongst the madness. It’s almost impossible to tell whether Master Boot Record had a hand in the creation of this release. Either way, the progressive and lengthy soloing is brilliant and adds to the already imaginative instrumental mid-section, which just seems to get crazier and crazier. From there on, their deathly chorus takes on a more brutal and straight-forward turn, amidst the technicality. One thing that does strike you during this song is just how well the instrumentation fits together, even with so many changes in tempo and so many transitions. The slow build has worked for Cryptic Shift so far and this record proves it.

From the mammoth galactic death metal opera that was ‘Moonbelt Immolator’, ‘(Petrified in the) Hypogean Gaol’ is a more urgent track, albeit still featuring Cryptic Shift’s technical wizardry and metallic wonderment. Again, it’s the guitar work that dominates with screaming solos sitting alongside fretboard mayhem, which remains controlled and melodic. The percussion and vocals match up by being just as crazy. Grinding tempos sit alongside subtle doom/death elements, layering a song that’s still possible to follow.

‘The Arctic Chasm’ is ominously good and it’s at this point that I realise that it’s these shorter songs that I prefer. The opener was fantastic but it struggled to find that extra bit of momentum due to the stop/start nature at times. The shorter songs seem to have no problem and it’s where Cryptic Shift really hit their stride. The riffs are bewildering here. The production/mixing/mastering also needs mentioning at this point, as the volume of the recording and the clear space that each instrument has is spot on. Both help to make the sound more engaging. There’s a lot of different phrasing and indeed movement within ‘The Arctic Chasm’, but it’s a song that just keeps on giving.

No rest is earned between it and album closer ‘Planetary Hypnosis’, which is just gung-ho. Coming in at a relatively short five-and-a-half minutes in length, nothing is slow or ponderous about it. Cryptic Shift has really found a stride at this point and it’s death metal at it’s best. You can completely see why Blood Harvest have put their name to this, as it’s quality and with the maturity that this quartet has, they’ll sit perfectly alongside the label’s ever-growing roster of quality extreme metal bands.

You can stream 'The Arctic Chasm' and pre-order the full album digitally below:-

Physical pre-orders can be placed via Blood Harvest Records here -

Sunday, 8 March 2020

Dead Man's Chest - Dear God 7"

Labels: Upstate Records
Formats: Vinyl/Digital
Release Date: 28 Feb 2020


1. Dear God
2. United States Of Me

It's my last day of holiday before jumping back into the rat race. I've been doing some review planning so over the next couple of weeks you can expect slightly higher output from me. This brand new EP has been sitting in my inbox for a little while (as have a lot of other releases, as I'm behind) and I thought now would be a good time to check it out. It's the latest 7" from international hardcore band Dead Man's Chest, which was released by New York label Upstate Records on 28th February. Dead Man's Chest have been playing hardcore/crossover now for over a decade, since their first demo in 2008.

Here’s goes then. Opening with ‘Dear God’, which is a big slab of thrash-heavy hardcore, Dead Man’s Chest lay it on thick with growled vocals, mosh-heavy drums/bass and up-lifting riffs. The tempos aren’t super in your face but do bounce and you can see why Dead Man’s Chest have been so successful over the years. Their music is well-written and precise, while also having a decent amount of technicality as well.

Second song ‘United States Of Me’ dials up the metal side of the quintets sound, especially in the guitar riffs and melody. If you find current Hatebreed material a bit formulaic then Dead Man’s Chest and Dear God will be good to turn to. It’s proper hardcore and is definitely as step-up from a lot of modern beatdown in my opinion. 

It’s a short EP, which hopefully hints at more to come from the band this year but even as a standalone release it’s great. As mentioned above it’s up-lifting and will got your motivation flowing, which is perfect now that the days are getting longer. We all need more positive hardcore in our lives.

You can stream and purchase Dear God digitally and on vinyl via Upstate's bandcamp below:-

It's also available via other distributors and information can be found on the Dead Man's Chest Facebook page here -

Friday, 6 March 2020

Chivala/Suirami - Split (Longrail Records/No Funeral Records/More...)

Labels: Longrail Records/Non Ti Seguo Records/Tifone Crew/Lostdog Records/Equal Rights/Strigide Records/TimTam/Yoyodyne Records/Callous Records/Missed Out Records/Les disques Rabat-joie/Mevzu Records/No Funeral Records
Formats: Vinyl/Tape/Digital
Release Date: 15 Oct 2019


1. Chivala - Caduta
2. Chivala - 27 Marzo
3. Suirami - G. Burrasca
4. Suirami - Amaro
5. Suirami - Occhi Chiusi
6. Suirami - Nuovo Inizio

Chivala was the only non-US band on the four-way split I reviewed earlier in the week. Late last year, they joined forces with fellow Italian post-hardcore band Suirami for a split, which was released on 10" vinyl by a whole host of the labels (listed above) and also on tape by No Funeral Records. Chivala has two songs on here while Suirami has four.

I’ve found that over the years, Italian screamo/post-hardcore definitely has it’s own identity when held up against similar music from the US. Aside from the obvious fact that Chivala sings in their native-tongue, there’s something very old-school about their opener ‘Caduta’. There’s less of the emoviolence approach taken by their former split-mates in Lytic, Amitie and Pique. Hardcore riffs shape their music while still providing melody. The percussion is still technical in places and the vocals are still harsh, but it’s all delivered in a simpler fashion (at least to these ears anyway). ’27 Marzo’ is immediately more ambient, building slowly and steadily. The mood is darker and the tempo is more mid-paced this time. This song may give you a better idea of what I was trying to say above. Chivala’s sound is more controlled and thus easier to follow, if you’re not an emoviolence/mathcore nut for example.

This is my first time hearing Suirami and they come from a cleaner punk/emo direction, with vocals that are more audible. Again, lyrics are in Italian. On their opener ‘G. Burrasca’ they remind me of Dutch punks Antillectual. They’re off-kilter at times but also have that pogo-punk rhythm thing going on and a slight atmosphere akin to Deftones too. Suirami’s songs are on the shorter side, coming in at under three-minutes. Despite that obvious urgency, ‘Amaro’ is very up-tempo and enjoyable. They manage to weave a lot of music layers from a relatively simple approach and remain very catchy. It’s exactly the same for ‘Occhi Chiusi’, where their more cinematic/post-hardcore side comes forward, thanks to lengthier instrumental passages and more minimal use of vocals, which seem to be slightly lower in the mix this time. It fades out leaving a sizeable pause before final song ‘Nuovo Inizio’, which is an acoustic instrumental song that’s very calming.

Having both the slight abrasiveness of Chivala and the cleaner punk of Suirami on this split makes it work really well. It showcases two of Italy’s newer bands, while showing the variation that exists even in this small scene. Great job! 

You can stream the full split release below:-

You can buy physical and digital copies from bands above and the labels below:-

Non Ti Seguo Records -
No Funeral Records - /