Where To Go From Here: Pondering The Next Chapter Of This Noise Is Ours

Earlier this month the blog reached a pretty significant milestone and since then I've been thinking about where do go with it. It's been twelve and a half years since I started this, and I want to keep going. I've tried some things over the years that haven't worked out (I.E. trying to take things in a more serious, journalistic direction) and I still have ambitions to grow the blog.

I've started reaching out to artists for a small project that I want to make happen, but aside from that I'm a bit stuck for ideas. I've tried to get a distro off the ground before and have put serious thought into helping to release music with like-minded labels/bands, but it never felt like the right time. I'm not afraid to make a financial investment, in fact I recognise that it'll be necessary to do so whatever direction I go in. 

I guess what I'm trying to say with this post is that I'm looking for inspiration and advice from people more experienced. What would you recommend and what advice can you give me? Please comment or DM me on social media. Thanks

Spoiled Brat - Humility

Labels: Self-Released

Formats: Tape/Digital

Release Date: 21 Mar 2023

Tracklist:

1. All My Friends Like Chat Pile

2. Hieronymus Mosh

3. I Discovered My Prostate, Pray For Me

4. Penn And Smeller

5. The Everlasting Scope Of Horror

6. In A Nuts Hell

I've got that Friday feeling and it couldn't come soon enough! I'm ringing the weekend in with the hardcore/screamo/whatever stylings of US band Spoiled Brat. Humility is the band's newest release and apparently an "exclusive AI generate tour 23" release. I don't know whether that means the artwork was AI generated or the music was, but I can say that the day hardcore/metal/heavy music becomes entirely AI generated is the day I stop listening. Also, that opening song title makes them sound salty about missing out the brand new Chat Pile/Nerver split release (I missed out on grabbing a copy too, before you say anything!). Tape copies were dubbed by Akashita Corp and are only available in person from the band.

There are literally a ton of fast hardcore/screamo bands breaching the surface right now and catching up with them all is hard. Spoiled Brat dropped into my inbox a little while ago and with the promise of an up-coming EP, I waited. Humility was released on Tuesday just gone and it comes at exactly the right time. EP opener ‘All My Friends Like Chat Pile’ (and who doesn’t!) is a typically fast song filled with piercingly good screams, furiously delivered percussion and guitar work that almost crosses into panic/mathcore territory. I guess that’s not too surprising.

‘Hieronymus Mosh’ is an excellent title and the music backs it up with an intense and noisy approach from Spoiled Brat. Songs this short are meant to make an instant impact. That impact is genuine here. So much so, that you wish it were longer. Spoiled Brat show their art-punk/off-kilter side on ‘I Discovered My Prostate, Pray For Me’. It’s a brilliant mid-paced (for them) song that builds in dramatic fashion but never truly explodes. Instead there’s a controlled delivery of catchy heaviness that’s hard to beat.

It’s fairly obvious by now that Spoiled Brat like their amusing song titles, as demonstrated by ’Penn And Smeller’, which is their grindiest song so far. I honestly fucking love this. I can feel a big art/grind/emoviolence binge happening after this. ‘The Everlasting Scope Of Horror’ is equally as mad, albeit with added hardcore crunch. My only complaint is that, like the previous songs here, it doesn’t last long enough.

EP closer ‘In A Nuts Hell’ rounds out what is a stupidly fun release with a good dollop of garage-punk/no-wave madness. Humility is over before you know it but that’s fine, because you’ll keep coming back to it as a result. Spoiled Brat are a completely new name to me but one (on a long list) that I’ll be keeping an eye out for from now on. Here’s hoping that this EP gets a wider physical release soon too. I’m sure there are a few people who’d love to make that happen.

You can stream and purchase Humility as a name-your-price download below:-

Spoiled Brat - https://www.facebook.com/spoiledbrat

Cryptorianus - Eternal Sorrow - Nameless Joy

Labels: Self-Released/Scum On Earth

Formats: Digital/Tape

Release Date: 25 Nov 22

Tracklist:

1. The Wanderer At The Shore

2. A Hole In The Heart

3. Unknown Call Of Yearning

4. The Honesty Of Decline

5. Ghost Lament

6. The Minnesinger's Quest

7. Black Is The Colour

8. Forest, River, Moon and Sun

9. The Sea Of Ice

10. I Can Feel You There

11. The Sea Of Ice (Vocal Version)

12. Unknown Call Of Yearning (Vocal Version)

13. The Honesty Of Decline (Vocal Version)

14. The Wanderer At The Shore (Early/Raw/Vocal Version)

15. Nameless Sorrow - Eternal Joy

Eternal Sorrow - Nameless Joy is the latest release from German solo drone/noise/post-black metal artist Cryptorianus. It was released back in November of last year and contains two distinct sides. The first ten songs are instrumental while the final five songs that make up the album's fifteen are vocal and experimental versions. As well as being self-released by Cryptorianus digitally, it was also released on tape by Scum On Earth.

I’ve decided to write this review over two sittings, given everything there is to take in here. Album opener ‘The Wandering At The Shore’ is filled with heavily fuzzed-up bass guitar, which is both droning but also upbeat with a definite melody flowing through it. Some might call it primitive, but it’s not. If you’re a listener that prefers more defined songs and structures, you will find this hard to listen to as ‘A Hole In The Heart’ follows with a much more unnerving tone and progression. Initial impressions brought Sunn O))) to mind but I don’t think that comparison’s right now I think of it. I’m not even trying to compare Cryptorianus to anybody else either.

‘Unknown Call Of Yearning’ is the last of the longer players (for the time being at least) and it’s crawling tempo, even without the help of percussion, is very mournful and almost inward in it’s delivery.  I guess using the term “longer players” was a bit of a misnomer as ‘The Honesty Of Decline’ crawls along at the same pace as it’s predecessor, filled with distortion aplenty. It very much feels like all of the songs here are really just one movement broken up. They follow on from each other as if they were anyway, as ‘Ghost Lament’ demonstrates. 

Cryptorianus clearly had a singular vision about how Eternal Sorrow - Nameless Joy was going to sound and sometimes it’s interesting to understand that vision. Perhaps I’ll do a rare interview at some point soon. The reason I talked about vision is because musically, as ‘The Minnesinger’s Quest’ comes to an end, it’s becoming obvious that variation isn’t something that’s being employed through these initial ten songs, though that strikes me as being deliberate on the part of Cryptorianus and I’m not trying to do the band or album any disservice.

One thing’s for sure though, it’s nothing if not mesmeric at times. ‘Black Is The Colour’ is as droning and as hypnotic as it gets on the album. It’s also the moment at which the fuzziness fades out a little to open a slightly clearer bass sound (briefly). The light begins to shine through during the song’s last thirty seconds, which kind of blows my point about variation out of the water. The experimental nature of Cryptorianus is very clear and the melodic tones that opened up this album reveal themsevles once again during ‘Forest, River, Moon and Sun’, which sometimes sounds digital almost. 

This latter half feels more laid-back (though that could just be my mind playing tricks on me). ‘The Sea Of Ice’ is the penultimate instrumental song on Eternal Sorrow - Nameless Joy. It’s very haunting and leads into ‘I Can Feel You There’, which has some really cool bass textures flowing through it. The final five songs here are where Cryptorianus adds vocals, beginning with the reimagining of ‘The Sea Of Ice’, which actually sounds like a completely different song with them. More black metal influenced but still just as droning and noisy.

From stark black metal and noise to spoken-word on ‘Unknown Call Of Yearning’. The spoken-word makes this composition sound even more unnerving, especially thanks to the very eloquent delivery of Cryptorianus. Very gothic to these ears. It’s a brave thing offering re-imagined songs like this but then again you see it happen all the time. It depends a lot on the band too, but here I think that they work really well and show a different, more expansive side to this project, especially on ‘The Honesty Of Decline’.

The version of ‘The Wanderer At The Shore’ that’s reserved for this section of the album is an early/raw vocal version mixing both black metal and spoken-word, making it much more theatrical. The album closer proper is called ‘Nameless Sorry - Eternal Joy’, which in case you haven’t guessed, is a play on it’s title. This song is an amalgamation of the dark noise and gentle melody that Cryptorianus is able to create, but in a much longer form. 

This whole release is an odd musical trip and it won’t appeal to everybody; however, it’s well worth giving a chance for it’s final five songs alone. I’ll be completely honest here and say that I felt more comfortable listening to those than I did the instrumental offerings. You as a listener might feel differently though, so give it your full attention. It will reward you.

You can stream Eternal Sorry - Nameless Joy below:-

It can be purchased on tape and also digitally from Scum On Earth here - https://scumonearth.bandcamp.com/album/eternal-sorrow-nameless-joy

Cryptorianus - https://www.facebook.com/Cryptorianus

Scum On Earth - https://www.facebook.com/scumonearth

This Noise Is Ours: February 2023 Spotify Playlist

A little later than planned but here's my February 2023 Spotify playlist, which acts as a round-up of the band's that were featured on the blog across the month. This one is small but perfectly formed, owing to the fact that half of the bands don't have songs from the releases covered on Spotify. I'll share separate links to them below.

Bandcamp links are below:-

February was a really fun and varied month musically, as you can probably tell from the above. Please go back and visit anything you've missed, support the bands and let me know if this whole idea is actually working! I'd love to hear from you and read your feedback. Thanks

Nhomme - 一 種 の 過 音

Labels: Zegema Beach Records

Formats: Tape/Digital

Release Date: 13 Feb 2023

Tracklist:

1. 一 種 の 過 音 i

2. 一 種 の 過 音 ii

3. 一 種 の 過 音 iii

I'm going to interspersing my ongoing look at the discography the makes up Zegema Beach Records with some of the label's more recent 2023 releases. I mean damn, there are enough of them to keep the series going for a good few years. This is a new-ish release, having come out last month. It's the latest EP to come from Japanese band Nhomme. Nhomme's music seems to encapsulate screamo, emoviolence, post-rock, math-rock and even djent. They were on a split with Asunojokei, as well as Pale and Tochu-Kaso in 2020, which is of note because I'm slowly trying to build up and complete my Asunojokei collection. This release has been made up of 146 tape copies, across three different variants as well as 5 special test dips. 

This promises to be really good, as every Japanese band I’ve ever heard is. EP opener ‘一 種 の 過 音 I’ is a math-rock fans dream, plain and simple. Deliciously melodic but with a bizarre yet really likeable jazz approach and amazing instrumental finesse. Its not until the two-minute mark that Nhomme introduces vocals and while they’re sparely used, their high-pitched screams are perfect amongst the music they nestle amongst.

‘一 種 の 過 音 ii’ takes the experimental nature of the opener and magnifies it, thanks to a longer running time. The production and general sound of the music on here is so alive and vibrant, without coming across as overproduced or condensed. Such musical freedom seems to be afforded to Japanese bands and Nhomme exhibits it so well here.

Their final song ‘一 種 の 過 音 iii’ features their now familiar morse code-like guitar playing, which on it’s own is strange yet works brilliantly when joined by the rest of Nhomme. It’s repetitive nature may drive some people mad but lovers of avant-garde, improvisational and expressive music will love it. More traditional screamo makes it onto the song’s latter half, which adds another layer to the recording. 

Nhomme are a total find! Utterly bewildering and jarring in places, yet also beautiful and cathartic in another. This is one of those EP’s that you’ll regret not owning. I myself am in a highly suggestible mood when it comes to ordering physical releases at the moment, so may well be shopping after this. Get it while you can!

You can stream and purchase the EP as a name-your-price download below:-

Nhomme - https://twitter.com/nhomme_band

Physical tapes can be purchased from Zegema Beach Records below (but be warned, they're running low):-

Zegema Beach Records - CAN/INTL - http://www.zegemabeachrecords.com/zegema-beach-releases/nhomme

Zegema Beach Records - https://www.facebook.com/zegemabeachrecords

Deus Vermin - MMXXII

Labels: Self-Released

Formats: Tape/Digital

Release Date: 05 May 2022

Tracklist:

1. Mute

2. Vision

3. Coward

4. Harm

I came home from work today to find that the blog's hit a significant milestone. Said milestone is just a number though and it's not the reason I started the blog in the first place. The reason was because of bands like Deus Vermin. They're a band I've been lucky enough to see live on multiple occasions in Leeds and have always enjoyed greatly. Coming four years after their full-length Monument To Decay they released their latest EP MMXXII. I missed it on initial release but it's been on my list to write about for a little while now and I couldn't let it pass me by any longer.

Deus Vermin have always been about dark imagery and bleak heaviness (you only have to look at the artwork that adorns their releases). How such warm hearted souls can produce such music still dumbfounds me. EP opener ‘Mute’ heralds a step into more avant-garde territory for the band, amongst their already stellar blackened/death/post-metal sound. There’s nothing pretentious about the music though, just genuine progression that shows how strong they are as a musical collective.

‘Vision’ exemplifies what I’ve just said with a metallic/blasting approach that’s hard to shy away from. Like Eyeteeth in my last review, Deus Vermin are showing that the UK is very much a continual driving force when it comes to heavy music. The dynamics of intense percussion, thunderous bass, dark yet mesmerising guitar work and ice-laden vocals are brought to life via the recording of Deus Vermin’s CG and the mastering of Vagrant Studios.

This EP is one that dispenses with meandering songs and instead proves that less is more. ‘Coward’ is probably the closest DV come to truly blasting/slamming death metal and it’s the most exhilarating two minutes of extremity you’ll have heard for sometime. DV were one of four UK bands that appeared on the 2022 label sampler from India’s Transcending Obscurity Records (that featured 24 bands in total). I hope this means there’ll be a collaboration between both parties in the future.

EP closer ‘Harm’ lives up to it’s name perfectly, with a song that signals the intent of Deus Vermin going forward. A deathly, cold mix of extreme metal textures alongside an assured delivery that buries itself deep when listening. Even when the tempo slows, the atmosphere stays as dank and the focus remains as strong. With the strength of the current death metal community in the UK and the ever-upward growth of black metal too, Dues Vermin have set out a stall that’s gonna prove hard to shift. It’ll be very exciting to see what comes next.

You can stream and purchase 'MMXXII' as both a name your price download and also on tape (while copies of the second press are still available) below:-

Deus Vermin - https://www.facebook.com/DeusVermin

Eyeteeth - Straight Edge Violence (Exclusive artwork reveal and first review)

Labels: Then And Now Podcast

Formats: Vinyl/Digital

Release Date May-2023

Tracklist:

1. Savage Messiah

2. Bluebottle

3. Youthenized

4. Chain Whipped

5. Premium (dis)Content

6. Encased In Concrete

7. Flesh Trade

8. Labour Exchange

9. Wage War

10. Ironhide

I'm thrilled to be able to bring you an exclusive artwork reveal and review of a brand new, and as yet un-released EP from a brand new UK band. Little is known about Eyeteeth but they're a quartet and play straight edge powerviolence. This EP contains ten songs across ten minutes, so don't expect any pleasantries. Eyeteeth did release a demo back in July of last year and Straight Edge Violence will be released on vinyl, as well as digitally in May via Then And Now Podcast.

Eyeteeth are an “anti-state straight edge violence” band and their music portrays a distinct level of anger right from the off on opening track ‘Savage Messiah’, which at first has a hardcore-groove before transitioning into a much heavier beast. The vocals are fierce, matching the tempo and noise laid down by the percussion and guitars. The way that Eyeteeth instantly head straight into ‘Bluebottle’ is great to hear and there’s no time to breath during the song either. Thirty three seconds of blistering intensity.

With the initial barrage complete, ‘Youthenized’ switches formula and leads with an extended instrumental intro. It highlights how thick the riffs sound. When the full band kicks in, the percussion stands out as it’s delivered with such abandon. At times off-kilter but all the time blasting. Eyeteeth’s hardcore song-writing is properly solid on ‘Chain Whipped’ , which is full of UK punk grit and straightforward bite.

‘Premium (dis)Content’ is a great song-title and it matches the tone set by the lyrics, and the vocals, leading you into the second half of ‘Straight Edge Violence’ knowing exactly what you’ve got yourself into. There’s something noticeably menacing about this EP and mood it creates, which is magnified the further you go. ‘Encased In Concrete’ is a case in point, especially when it slows towards the end. Claustrophobia comes to mind before you’re snapped out of it by ‘Flesh Trade’ and it’s change of pace. This song reminds me of the great gigs that used to happen in Leeds, with line-ups chock full of DIY PV/hardcore bands that played hard and fast. 

Grinding almost death-like heaviness awaits on ‘Labour Exchange; but only for a short time before Eyeteeth’s hardcore takes hold again. Don’t take my over-analysing too seriously though, give it a listen for yourself. Penultimate rager ‘Wage Way’ allows for no distraction and ‘Ironhide’ is the moshable ending that all EPs should include. 

It’s hard to write about fast releases, much easier to just listen and multiple listens will reveal much more to Eyeteeth. A band definitely born out of the current discontent that envelops our country, yet one that does also bring positivity (though it’s hidden deep down). Keep a look out for the EP when it drops in May (pre-orders are due to start in April).

You can stream Eyeteeth's four-track demo from last year below and grab it as a name-your-price download too:-

Eyeteeth Instagram - eyeteethstraightegde

Then And Now Podcast Instagram - thenandnowpodcast

Special thanks go to Eyeteeth for allowing me to do this.

Blue Youth - EP + 2 Songs

Labels: Zegema Beach Records

Formats: Tape/Digital

Release Date: 18 Jun 2019

Tracklist:

1. Deaf Mode

2. Two Faces

3. The Power

4. The Screw

5. The Enemy

6. The Past

7. The End

I feel like I have to get back on it because things have been a bit hit an miss recently. Thanks for sticking with me!. I have a couple of new ZBR release reviews in the pipeline but I also want to keep the roster review series going, so tonight seems like the right time to leap back into it with the 2019 Blue Youth tape release. The release was made up of the Canadian post-hardcore/noise rock band's debut EP and two extra songs that were both only available digitally at the time, as a precursor to ZBR (and others) releasing their Dead Forever EP. 

The tape starts with the first of the two newer songs ‘Deaf Mode’, which is a great mix of jarring noise-rock and semi-mathy post-hardcore. Repeating riffs and crazy freak-outs are all present and correct, alongside plenty of nice melodic guitar work. The vocals are both crazed and clean, while the bass and percussion drive things on, contributing to a noisy finish.’Two Faces’ is somewhat sassier and noisier, with a greater sense of urgency and a whole heap of groove. It’s as if The Bronx, Snapcase and At The Drive-In decided to form a band together. Abrasive yet truly danceable too. 

The next five songs make up Blue Youth’s debut EP itself and ‘The Power’ shows a nod to Brit Pop and the Scandinavian miscreants The Hives. I know comparisons are subjective but the melodies on show here kind of give it away. Where was I when this EP came out!  There’s a snotty English punk vibe to ‘The Screw’, which makes complete sense given the song’s title. Another quick-fire noisy number that threatens to overspill. Instead though, Blue Youth know exactly when to inject it with hooks and melody.

‘The Enemy’ sounds like it could have easily inspired Turnstile to write Glow On, yet with a more caustic hardcore approach at times and less of the surf/dream pop of the aforementioned band. Blue Youth’s heavier side works so well up against their upbeat side. Penultimate song ‘The Past’ encompasses all of the influences/sounds I’ve mentioned above and shoehorns them into a song that hits pretty damn hard. I’m feeling pretty sleepy after a long day at work but Blue Youth are keeping me awake and alert thanks to final EP song ‘The End’. It’s a great way to end (sorry). The shift in sound between the five debut EP tracks and the latter two that open this release is at odds with many modern bands, as it shows Blue Youth heading in a heavier direction. That’s fine with me, though I can’t be sure there will be future music from them.

You can stream and purchase the release digitally below:-

Tape copies can still (amazingly) be purchased from the below link:-

Zegema Beach Records CAN/INTL - http://www.zegemabeachrecords.com/zegema-beach-releases/blueyouth7songs

Blue Youth - https://www.facebook.com/blueyouthsk

Zegema Beach Records - https://www.facebook.com/zegemabeachrecords

Zebedy - Waiting For The Tide

Labels: Self-Released

Formats: CD/Tape/Digital

Release Date: 03 Feb 2023

Tracklist:

1. Well Being

2. Building Sandcastles

3. This City Is Ours

4. Thrive

5. Bloom

6. My Name Is Forever

7. Forget All That You Know

8. Revelations

9. Mask The Sky

10. Set The Pace

11. We Collide

The UK has always been blessed with an abundance of progressive rock/metal bands. In modern times, bands like Sikth, Tesseract, Karnivool and many more have proven how productive our island nation can be. Welsh quartet Zebedy are a newer addition to our ever-growing progressive community and one of the only bands of their ilk I know that call Conwy home (an area I know well, having lived in sunny Rhyl during my teenage years). Their latest (and third) album Waiting For The Tide was released in early February and was even produced by Sikth's Dan Weller. They've shared stages with Soil, InMe, Raging Speedhorn and many others too.

I’m full of positivity right now and jumping into an album from another UK band with such promise only adds to that feeling. Zebedy is a new name to me but I’m excited (unlike a certain mainstream radio DJ, whose a twat). Album opener ‘Well being’ is a song of two halves, featuring more traditional instrumental prog and electronic textures later on. Definitely a creative song to start with but something tells me there’s more to come and on ‘Building Sandcastles’ that statement rings true as Zebedy springs forth with great melodic vocals and intelligent musicianship. I can’t believe I haven’t come across them before.

The sound and clarity of the album strikes you straight away, no doubt in part thanks to Dan Weller’s touch during the production phase. ‘This City Is Ours’ immediately brings to mind bands like Hell Is For Heroes and Cars As Weapons, being filled with super-catchy vocal hooks and a gritty heaviness that’s not gonna scare the masses away. ‘Thrive’ follows and it’s a really well performed instrumental interlude of sorts, with an all-encompassing approach that sounds so warm.

The pause on the recording between ‘Thrive’ and ‘Bloom’ feels like it shouldn’t really be there and kinda spoils the momentum somewhat but that’s only a small gripe, as ‘Bloom’ is brilliant when it gets going. One of the album’s heaviest songs so far, which is great if you yearn for the heavy stuff. ‘My Name Is Forever’ takes Zebedy’s sound back in a lighter and brighter direction again with excellent crooning and intensity that resides amongst similarly vibrant song-writing. So good!

Before you know you’re deep into ‘Forget All That You Know’ and over half way through Waiting For The Tide. It’s here that I’m getting Cave In vibes somehow but that’s enough with the comparisons for now. Let’s just appreciate what’s flying out of the speakers. There’s real angst coming to the surface during ‘Revelations’ and the off-kilter time signatures (as well as my neighbour dropping something heavy on the floor above me) are able to induce a brief bout of anxiety, at least for a few seconds anyway. The song’s latter half is gloriously delivered with soothing harmonies amongst the crunching guitars and percussion.

‘Mask The Sky’ grooves like nothing else on this album, providing something that will induce rabid moshing in a live setting while also pleasing those that like their music served with a heavy dose of math. It’s an epic instrumental, showing how versatile Zebedy can be. ’Set The Pace’ initially sounds like a pop-punk song (All Killer No Filler era Sum 41 anyone?) but it isn’t long before Zebedy retreat into more familiar territory and prog it up. I’m getting subtle Fleetwood Mac feels from the vocal delivery for some reason. Are you?

’Set The Pace’ was the album’s penultimate song and it leads directly into ‘We Collide’, which is it’s longest. As much as Zebedy are a prog-rock/metal band, they’re also connected to indie and melodic rock too. ‘We Collide’ gathers up all of their musical influences, wrapping them up into a song that epitomises just how good they are. The UK needs bands like Zebedy and the rest of the world needs to know that progressive music can only progress because of the UK. I’m not one of those nationalists so don’t worry. I just like to champion bands from these shores when I get the chance.

You can stream and purchase Waiting For The Tide on all formats mentioned above via Zebedy's bandcamp page below:-

Zebedy - https://www.facebook.com/zebedymusic

Erai/...And Then I Feel Nothing - Split

Labels: Self-Released

Formats: Vinyl/Tape/Digital

Release Date: 27 Dec 2022

Tracklist:

1. Erai - One Thousand Farewells

2. ...And Then I Feel Nothing - Blossom

I can't believe that it's already March. Time's flying and as I write this I'm reminded that Peter from Erai wrote to me about this split release way back in early January. For those who aren't familiar with Erai, they're a post-hardcore/emo adjacent band from Germany and one whose previous (three) releases have been featured here. This release has a pretty cool back story to it, as Erai's drummer Rouven (also of ..And Then I Feel Nothing') decided to travel through Eastern Europe between mid-2022 and early-2023. Both bands recorded one song before Rouven departed and they appear on this EP, which was self-released as a limited lathe-cut vinyl/tape run.

This release feels like a real shift for Erai. Even though their songs have always been on the longer side, especially when it comes to post-hardcore/emo, I don’t recall them ever writing/recording/performing one that’s surpassed ten minutes as ‘One Thousand Farewells’ does. I’m not sure if it was written with the intent of saying goodbye to Rouven as he embarked on his travels, but whatever the reason, it shows yet again how mature Erai are as song writers and how well they can weave melody, and clean textures into their music. There’s definitely a late-90s/early-00’s emo/alternative feel to the song that’s both familiar but also hard to pin down to a specific influence or comparison for me.

…And Then I Feel Nothing (another band featuring Rouven on drums) follows very much on the same trajectory as Erai on their song ‘Blossom’, albeit with a heavier overall sound. Filled with more crunching hardcore and post-metal textures, it provides the backdrop for a song that’s briefer in it’s playing time but no less impactful. Given the link between both bands here, there was always going to be an element of crossover in their sound. That crossover does no harm at all. …And Then I Feel Nothing are another band that deserve greater exploration. 

Two bands that share a member, creating songs that complement each other while also cementing their own personalities. Talking of personalities, I’m beginning to notice more bands choosing to self-release their material instead of relying of labels (big or otherwise). Seeing Erai/ ...And Then I Feel Nothing take this particular approach shows that this EP is a special labour of love and makes it more meaningful.

You can stream and purchased the split digitally via ...And Then I Feel Nothing's bandcamp page below:-

Physical Lathe and tape copies are available from Erai here - https://eraibln.bandcamp.com/album/erai-and-then-i-feel-nothing-split.

Erai - https://www.facebook.com/eraibln

...And Then I Feel Nothing - https://www.facebook.com/andthenifeelnothing

['selvə] - Doma

Labels: A Fond d'Cale/Cave Canem D.I.Y/General Soreness/Hardcore For The Losers/Hesitation/Nothing Left/Overdrive Records/Piu Amici Meno Storie Records/Shove Records/Tatano Records/Zegema Beach Records

Formats: Vinyl/CD/Tape/Digital

Release Date: 14 Feb 2018

Tracklist:

1. Silen

2. Joy

Time's properly flying right now. I have this week off from the day job but it mostly consists of DIY (urgh!), which I'm ambitious but rubbish at. Thankfully the evenings allow time for me to write, while also running in my new hi-fi. I'm back on the Zegema Beach Records roster trail tonight, focusing on the 2018 release Doma by Italian post-black metal/emo band ['selvə]. This two song record was released on vinyl, cd and tape (as well as digitally) via a whole host of labels, including ZBR who pressed a run of tapes for Canada/North America, as well as further afield of course. 

['selvə] (or Selva) performs post-black/hardcore in such a sensitive and exciting way. Doma opener ‘Silen’ starts with a slow, atmospheric build-up that leads into blasting blackened screamo after about four minutes. Beyond that point, it doesn’t let up in it’s intensity. Even when things seem to settle down for a period of time, there’s still an underlying sense of unease, despite Selva’s beautiful musicianship and genuine vocal delivery.

Second song ‘Joy’ is immediately frenetic and bathed in a rawness that’s very endearing. Granted, it’s also very heavy, almost mesmerically so at times with the repeated riffs that sit atop the recording. It’s amazing how a band can produce a release that’s so involving in the space of just two songs. Selva was part of a three-way split CD last October, so hopefully there’s more to come from them this year or in the future.

Italy as a country provides surprise after musical surprise. From the often theatrical, to instrumental progressiveness and also it’s emotive metal/screamo community, it has it all if you’re willing to put the time in. Selva is a fantastic band. Nothing more needs to be said.

You can stream and buy Doma on vinyl, CD and digital formats directly from Selva below:-

Selva - https://www.facebook.com/selvapbs

Physical copies of Doma are still available from a couple of the OG releasing labels below:-

General Soreness - https://www.discogs.com/seller/General_Soreness/

Hardcore For The Losers - https://hardcoreforthelosers.bandcamp.com/album/selv-doma-lp

Cave Canem D.I.Y - https://www.facebook.com/CaveCanemDIY

General Soreness - https://www.facebook.com/generalsorenessrecords

Hardcore For The Losers - https://www.facebook.com/HardcoreForTheLosers

Hesitation - https://www.facebook.com/hesitationdiy

Nothing Left Records - https://www.facebook.com/NothingLeftRecords

Overdrive Records - https://www.facebook.com/overdrivesrl/

Shove Records - https://www.facebook.com/SHOVE-records

Zegema Beach Records - https://www.facebook.com/zegemabeachrecords

Mortuary Spawn - Spawned From The Mortuary

Labels: Brutal Cave Productions/Chamber Of Emesis/Dry Cough Records/Sewer Rot Records

Formats: Vinyl/CD/Tape/Digital

Release Date: 23 Apr 2021

Tracklist:

1. Crepuscular Imperilment

2. 'Neath The Mounds Of Murids

3. Thorax And Abdomen

4. Odious, The Charnel Miasma

5. Spawned From The Mortuary

Back in 2020, a putrid old-school death metal band called Mortuary Spawn crawled into life; sharing members with Groak, Pest Control, The Afternoon Gentlemen and Belk (amongst many others). Their debut release Spawned From The Mortuary was initially pressed on tape in 2021 via Leeds UK underground label Chamber of Emesis, before Portuguese label Brutal Cave Productions and USA's Sewer Rot Records entered the fray with cd pressings (as well as a US tape pressing from the latter label). Finally, a vinyl pressing came from UK label Dry Cough Records and Sewer Rot in 2022, due to the ongoing pressing plant delays that hit post-Covid. Their first gig was in support of the mighty Demilich according to Metal Archives (can anyone point me in the direction of the flyer, because I'm a sucker for the artwork/layouts).

Mortuary Spawn’s death metal is as impact-laden as the music of the bands it shares members with, as evidenced neatly on EP opener ‘Crepuscular Imperilment’, which is a blasting and growling force to be reckoned with. More low-end is on show here than treble, but that’s to be expected. When the lead guitar does break out into a solo, it’s filled with screeching goodness. ‘’Neath The Mound Of Murids’ is a song title straight out of Yorkshire and the song that bares it’s name doesn’t hang about. Unapologetically straight-to-the-point.

There’s a nod to death metal’s infatuation with the human body on ‘Thorax And Abdomen’, which is a gnarly, fast-paced show of brutality that manages to stay on the right side of the more formulaic slam-death approach (to these ears anyway). Following it are the truly grinding opening bars of ‘Odious, The Charnel Miasma’. The rest of the song is filled with both grooving death metal verses and off-kilter madness, with plenty of unnerving atmosphere thrown in for good measure.

EP closer and title track ‘Spawned From The Mortuary’ keeps momentum high with it’s silly-fast tempo and belligerent heaviness. That pace never really lets up, as the bass provides a bluesy backdrop. Both the percussion and vocals keep up with each other’s fluidity, leaving only the feedback at the end to try and bring down your heart rate.

I’ve always tried my hardest to champion the amazingly broad and friendly underground heavy community that’s made Leeds so great musically. I’m also embarrassed to say that It’s been over half-a-decade since I’ve attended a DIY gig in the city. So many memories for me of gigs that were put on by members of Mortuary Spawn amongst many others. I’ll get back over one day. For now though, let’s hope there’s more to come from this quintet.

All physical copies are sold out at Mortuary Spawn's bandcamp page, but you can stream and purchase the EP digitally there below:-

Mortuary Spawn - https://www.facebook.com/mortuaryspawn

Vinyl copies are still available from the labels below:-

Dry Cough Records - https://www.drycoughrecords.com/product/mortuary-spawn-spawned-from-the-mortuary-12-dc60

Sewer Rot Records - https://mortuaryspawn1.bandcamp.com/album/spawned-from-the-mortuary

Brutal Cave Productions - https://www.facebook.com/brutalcaveproductions

Chamber Of Emesis - https://chamberofemesis.bandcamp.com/

Dry Cough Records - https://www.facebook.com/DryCoughRecords

Sewer Rot Records - https://www.facebook.com/sewerrotrecords