Confess - Destination Addiction

 Labels: Self-Released/EVIN Productions

Formats: Vinyl/CD/Digital

Release Date: 31 Jan 2025

Tracklist:

1. Built on a Grave

2. Slaughterhouse

3. Expedition

4. Dark on Both Sides

5. Suicide Song

6. Final Lap

7. After Goliath

8. Origami God

9. Only Shackles to Lose

10. Breathe In. Breathe Out.

Nearly three years have passed since I reviewed Revenge At All Costs, the 2022 (and third) full-length by Iranian/Norwegian metal band Confess. In January of 2025 the band released their newest album Destination Addiction, featuring percussion by George Kollias (of Nile and Contrarian, most notably) and a guest appearance from guitarist Marzi Montazeri (formerly of Superjoint Ritual and Exhorder, etc) . With Confess's main creative duo now fully settled in Norway, the focus can be placed on writing their music with freedom.

Confess have been growing gradually in recent years, casting off the setbacks that affected them early on and Destination Addiction really feels like an album that come’s from a place a stability but also defiance. Opener ‘Built on a Grave” shows that defiance off perfectly with thrashy/groove-laden riffs, bass and authoritative death metal vocals; all kept in check by the precise and classy percussive delivery of George Kollias. It’s a full-force way to kick off the record and leads straight into ‘Slaughterhouse’, which doesn’t skimp on the breakneck heaviness. There’s a refreshing sense of passion flowing through this song. That sentence may sound like a bit of a cliche but it’s not meant to. Honing a sound is difficult for any band, but Confess seem to have found their’s here.

The instant blasting/technicality that hits on ‘Expedition’ will throw you off completely as Confess delve deeper into what made nu-metal so popular at it’s heaviest. The addition of turntable scratches and samples will bring about a feeling of nostalgia in some and to be honest, those additions are well received. Variety is a good thing and Confess aren’t afraid of it. From that little bit of nostalgia to the truly atmospheric and anthemic tome that is ‘Dark on Both Sides’. This song sounds and feels different as it’s tempo slows a touch, leading to a stripped back opening passage before shades of Fear Factory, Superjoint Ritual and Meshuggah make themsevles known. Comparisons aside, Confess have it nailed, breakdowns and all!

The curiously titled ’Suicide Song’ starts with rousing feedback and marks the mid-way point on Destination Addiction. It sees Confess at their most urgent tempo-wise, while catchy instrumental touches flourish throughout that hint to their roots. The album’s latter half starts with ‘Final Lap’, which isn’t their final song at all. It’s actually another six-minute plus song filled with exquisite metalcore riffing and brutal death metal intricacy. The mid-section retreats to a passage of introspection before the percussion takes a regimented stance, leading to guitar/bass work that builds back up to the metalcore that makes it so listenable.

After that modern metal masterpiece (sorry for too much alliteration), it’s hard to know how Confess will follow it. In true metal fashion the answer is; by going in a different direction again on ‘After Goliath’, which sees them mix thrash/death metal with the nu-metal inspired scratching once again. Add to that the exceptional guest appearance of Marzi Montazeri, who provides a truly killer guitar solo and who knows what to think! ‘Origami God’ bristles with Eastern influence once again, alongside obscenely good extreme metal that sounds so assured and focused. You could describe it as many other things as well but sometimes less is more. 

The album’s penultimate beast ‘Only Shackles to Lose’ is the fastest song on the album, glitching and grinding it’s way through two-and-a-half minutes of blunt force trauma. It rests on closer ‘Breathe In. Breathe Out’ to ensure that things end on a high (if that’s the term!). It certainly does that, as Confess throw all their sonic might into the ring one final time, with George Kollias putting everything into the drums as expected. It ends abruptly but it leaves plenty of room for more from Confess too. 

It feels like Confess are very different band to the one they were three years ago. Their song-writing, performance and their choice of collaborators on Destination Addiction act as a testament to their growth. I have no doubt that you’ll enjoy this record like I did.

You can stream and purchase the album digitally, as well on both physical formats below:-

Confess will receive more from sales placed via their own site, so please consider heading here - https://www.confessband.com/category/all-products.

Confess - https://www.facebook.com/confessbandIR

INSULT - Reside Infernus

Labels: Metal on Metal Records

Formats: CD/Digital

Release Date: 25 Apr 2025

Tracklist:

1. Reside Infernus

2. Bloodthirsty

3. 0-60, Death or Glory

4. Holy War (Sea of Tears)

5. This Life We Despise

6. Berserker

7. Broken Mind

8. Power From Hell

When I spotted an e-mail in my inbox about a band that featured two of the original members of UK thrash institution Onslaught, I couldn't believe it. I also didn't realise that said band INSULT actually formed way back in the mid 80's. The duo of drummer Steve Grice and bassist Jase Stallard reformed the band in 2022 and began to write new songs, before being joined by Onslaught's roadie Jase Howell on vocals, as well as guitarists Robbie Harris and Jonny Fifield. Their debut album Reside Infernus was released in April via Metal on Metal Records.

As much as the UK metal scene needs young blood, it also needs metal legends, especially those who laid the bedrock for what we know and love today. Enter INSULT and their debut album Reside infernus. Crafting music through their collective love of thrash and heavy metal, they open with the title-track ‘Reside Infernus’. It’s haunting intro leading into anthemic guitars/bass, sharp drumming and classic thrash vocals. Catchy as hell and paying homage to the early masters, INSULT’s delivery is classy but also layered with raw passion. 

You’ll hear some familiar influences flowing through this record and on ‘Bloodthirsty’ the quintet don’t try to hide from them. Nor should you but remember that there’s much more to this album. When INSULT hit their stride, they’re unstoppable. The rousing title ‘0-60, Death or Glory’ says all that needs to be said about the attitude here, as the band rips through a song that owes as much to Motorhead as it does to Onslaught. 

‘Holy War (Sea of Tears)’ contains Eastern samples during it’s intro and proceeds to be a commentary on current global hostilities, in a way that only thrash metal can. Just like the days when Slayer criticised religion on God Hates Us All, INSULT have done so in a similar vein and that criticism is needed now more than ever. 

The album’s second half kicks off with the raging ‘This Life We Despise’, which is filled with wicked riffs, percussion and vocals that both compete against/complement each other. The chugging guitars that drag you into that lovely solo toward the end add to the ferocity as well. The aptly titled ‘Berserker’ does literally what it says and berserk’s through over four minutes of epic thrash madness. It’s brilliant! 

Penultimate song ‘Broken Mind’ starts in brooding fashion, leading to precision thrash that pulls absolutely no punches. It’s easy to see how a band that originally formed in the 80’s has been able to write and execute such incredible songs. Form is temporary, class in permanent. 

INSULT close out with a re-recorded/cover version of Onslaught classic ‘Power From Hell’ and they’re joined by a very special guest, in Onslaught’s Sy Keeler. Both Jase Howell and Sy together make for a powerful vocal duo as INSULT bring an early thrash anthem to new ears.

Honestly, it’s been way too hot this evening to be headbanging but needs must. It also seems like UK bands of old (no matter what genre) are slowly coming back to life. That can only be a good thing and if you miss the halcyon days of UK thrash, INSULT are here to remind you that it’s alive and well. 

You can stream and purchase the album digitally via bandcamp below:-

To caveat the above; I understand that bandcamp are making some changes to the way bands/labels receive payments. If you're a band/label who're concerned about this change and have read up on it already, I would recommend you look at Ampwall, which is an artist-centric alternative platform that's growing all the time.

Physical CD copies can be purchased from Metal on Metal Records here:-

https://metalonmetalrecords.com/shop/

INSULT - https://www.facebook.com/insultofficial

Metal on Metal Records - https://www.facebook.com/MetalOnMetalRecords

Emma Goldman - all you are is we

Labels: Zegema Beach Records

Formats: Vinyl/Digital

Release Date: 28 Apr 2025

Tracklist:

1. an introduction to real estate-induced psychosis

2. at rock bottom I was a piss girl

3. I seem to be an adjective

4. I don't think much at all

5. diss track

6. this is your brain on minimum wage

7. it rubs the boycott ketchup on its brand new slacks

8. whispers catastrophe

9. that is the land of lost content

10. we're corporatizing polyamory

11. canned response

12. bellinis at the blockade

My first introduction to Emma Goldman was on their 4-way Meditations In Affinity: Solicitude split 7" with BIGHAND//BIGKNIFE, Almanac Man and Abandoncy, which was released via The Ghost Is Clear Records and Zegema Beach Records in 2020. These crazy Canadians returned to Zegema Beach Records earlier this year to release their first album all you are is we. 

They play a combination of sassy-hardcore/screamo and all that adjacent good-stuff, alongside the occasional hit of breakcore and dub-step (remember that?). If you have an aversion to bright lights and the colour yellow, you'd better stay away from their bandcamp page too!.

It feels like an absolute age since I originally sat down to write this review. Life and work things inevitably took over for a little while, but I couldn’t leave this one hanging any longer. Opening with ‘an introduction to real estate-induced psychosis’, Emma Goldman’s vocalists audibly gasp for air as they hurriedly deliver their spoken-word intro nestled amongst machine-like guitar feedback. Though for all I know, it could also be a sampled intro.

What follows is nothing short of pure audio terrorism as frenetic percussion, shattering bass, fast math-like riffs and piercing shrieks make up ‘at rock bottom I was piss girl’ .The opening barrage reminds me of the Japanese techno/electronic-infused noise of Mad Capsule Markets (also one of my faves to namedrop apparently), though further comparisons escape me at the moment, which is probably a good thing!.

The way Emma Goldman switch between that brutality and the slightly more structured emotive hardcore sound is noticeable too, purely down to the ease of it. ‘I seem to be an adjective’ has a clean yet unnerving guitar tone to it as the quartet layers up to yet another blastathon. It’s a good thing these songs are short because I don’t think any member could sustain anything longer given the sheer energy they use crafting them.

‘I don’t think much at all’ isn’t long, clocking in at a blink over three minutes and still sitting well within the wheel tracks of the band’s chaotic and impulsive compositions. Strangely though, during the mid-section I’m getting peak nu-metal vibes, as if somebody sped up the heavy parts of ‘Back To School (mini maggit)’ by Deftones. Again, what I hear and what everybody else hear’s will probably be way different.

The first time we properly hear Emma Goldman’s breakcore/dub-step is on ‘diss track’, which is a collage of samples and upbeat dance, breaking things up with aplomb before things get back to normal!? on ‘this is your brain on minimum wage’. It could well be a commentary about how real-term wages are going down across the world or it could just be another amusingly though-up title. Whatever’s correct, it’s another show of just how blistering this album is.

The album’s latter half starts off with the obscurely titled ‘it rubs the boycott ketchup on its brand new slacks’, which at nearly five minutes in length, is a bit of a departure for the album (not that I’m obsessed with song lengths or anything!). The pensive build-up makes way for probably the most post-hardcore song on all you are is we. It’s expansive, heartfelt and filled with so many different musical elements; clean singing, whispers set to grinding drums, extended instrumental passages and memorable guitar hooks. Memorable is certainly the right word here.

Following immediately on through the fading guitar is ‘whispers catastrophe’, which is a short ambient piece complete with whispered vocals and the sound of gentle lapping waves. It’s relaxing though brief and soon ‘that is the land of lost content’ is resplendent in spoken-word poetry and gentle guitar. Again, as is Emma Goldmans’s MO now, it builds in layers and volume to reveal a heavy post-hardcore song that La Dispute would have dreamed they had written. 

‘we’re corporatizing polyamory’ goes in a more frantic direction once again. It’s both maddening and chug-like at points. I think by this point, my brain has been battered beyond comprehension and being descriptive is hard. ‘canned response’ is another upbeat dance interlude that will have you raving wherever you are. The beats sound like a ticking metronome and the samples are bizarre as per usual. It’s rad and I bet it sounds great live.

Closing with ‘bellinis at the blockade’, Emma Goldman rock out in the same way they started. I use the term “rock out” because this sounds somewhat groovy at times, in between the sheer heaviness. Taking a moment to collect my thoughts as the album ends, I’m in awe. The broad spectrum that makes up screamo always seems to throw up bands that rip up the rulebook (if any such book exists). Emma Goldman might just be the heaviest/craziest band to join the party. Props to them and to ZBR for giving them a bigger platform.

If you've managed to get through my essay on how good this album is and you still haven't heard it yet, then head to Emma Goldman's bandcamp page to right that wrong and also grab it as a name-your-price download:-

Emma Goldman Instagram - @emmagoldmanband

Zegema Beach Records Bluesky Social - https://bsky.app/profile/zegemabeachrecords.bsky.social

Physical vinyl copies are available via Zegema Beach Records here:- 

CAN/INTL - http://www.zegemabeachrecords.com/zegema-beach-releases/emma

U.S.A. - https://zbrusa.com/collections/zbr-releases/products/emma

Sarmat - Upgrade

Labels: I, Voidhanger Records

Formats: CD/Digital

Release Date: 28 Mar 2025

Tracklist:

1. Upgrade

2. Serum Visions

June ended up being a little quieter than I had planned but also somehow turned out to be a bit of a record breaker. I want to try and gain better writing momentum again but I'm not forcing it either. With all of that in mind, I've chosen to write about US jazz/progressive extreme metal band Sarmat and their latest release, Upgrade. The two-song EP was released on CD and digitally by I, Voidhanger Records in March.

Sarmat is more a musical collective than a band and for this release it comprises drummer James Jones, bassist/keytar player Steve Blanco, guitarists Zachary Blakeslee-Reid and Ryan Hale, upright bass player Niko Hasapopoulos, trumpeters Oskar Stenmark and Jerome Burns, as well as vocalist Ilya Belko. It was recorded live at Gojira's own Silverchord Studio and was mixed/mastered by Colin Marston.

It’s so frustrating seeing the highest profile music festival in the UK (if not the world) paying such little respect to heavy music and it’s bands. On the flip-side, the same thing also happens in some grassroots venues too, as experienced just last Sunday when I attended a gig where the venue made no effort to promote one they were putting on, which featured four up-and-coming bands trying to reach new audiences.

With that in mind, I’m trying to play my small part by sharing the newest release from Sarmat, which so far has left people both bewildered and enthralled in equal measure. Starting with title-track ‘Upgrade’, you’re thrown straight into some utterly insane, extreme metal, filled with improvisation and uncharacteristic instruments. The trumpet of Oskar Stenmark joins the drums, bass and guitar (of James Jones, Steve Blanco and Zachary Blakeslee-Reid respectively), providing an inspired dark-jazz/experimental layer.

Nothing about this piece of music is conventional and is exactly what I’d love to witness live at my local live music venue here. It combines everything I love about extreme metal and enough weirdness to leave me grinning from ear to ear. The addition of Ilya Belko’s harsh vocals in the song’s latter half push the extreme envelope further, while not detracting from Sarmat’s metallic progressiveness. 

Second piece ’Serum Visions’ is somewhat shorter than ‘Upgrade’ was, yet it feels even more of a headfuck because of it. This time Steve Blanco switches to keytar and is joined by Niko Hasapopoulos on upright bass, Ryan Hale on guitar and the trumpet of Jerome Burns. It retains Sarmat’s heavy sound but ratchets up the otherworldly experimentation to greater levels. You’ll understand what I mean when you hear it. 

I really don’t know how I reached this point of musical exploration but I’m thankful for it. Being curious enough to dig deeper Into the outer, creative edges of genres (or music in general) gives a feeling of wholesomeness, even if what you’re listening to is extreme. The ever changing collective that is Sarmat makes it even more worthwhile. Please lend them your ears.

You can stream and purchase Upgrade both digitally, and on limited digipack CD from I, Voidhanger Records below:-

Sarmat - https://www.facebook.com/Sarmatproject

I, Voidhanger Records - https://www.facebook.com/i.voidhanger.records

Light/Moongazer/A Rose Dying In The Rain - Sundrowning 3-Way Split

Labels: Self-Released/Fiadh Productions

Formats: Digital/Tape

Release Date: 06 Dec 2024

Tracklist: 

1. Light - Everflowing Rivers

2. Moongazer - Lilac

3. A Rose Dying in the Rain - Starry Eyes Like Late Sunset

In December of 2024, three blackgaze/ambient black metal bands joined forces and released a split together. Italy's Light, Moongazer from the US and Mexico's A Rose Dying In The Rain put said release online digitally for both streaming and purchase. Prolific US label Fiadh Productions announced a tape release via press mail-out earlier this year and feature the split on their Soundcloud page too; however, after scouring their socials and bandcamp, it doesn't appear to have materialised yet (please correct if I'm wrong and have missed it, or if it's still due for release!). Whatever the situation, I feel it's only right to champion these bands and their split.

This is an epic split release. One that’s typical amongst underground metal bands, especially those who lean towards black metal. It begins with the song ‘Everflowing Rivers’ by Italy’s Light, which is also it’s longest song. Gentle, soothing guitar melodies open the split in glorious fashion, in some ways reminiscent of compatriots like Earth And Pillars, Falaise and others besides. As it builds with additional layers of percussion and ambience, you’re encouraged to relax before Light unleashes harsh yet uplifting black metal vocals upon you. Amongst the backdrop of the vast cinematic instrumentation, it’s hard to feel anything but adulation for what’s coming out of the speakers. 

The latter half of the song is filled with so many layers; from the aforementioned guitar/ambient melodies, to the throat-scraping vocals and beautifully executed choral singing too. As opening songs go, this is gonna be hard to beat. I feel so energised after that, especially as the sun in coming out around me after such a grey and miserable day here. It’s apt though that America’s Moongazer are up next, as we head ever closer to evening darkness. ‘Lilac’ is also truly beautiful, with even more swathes of melody and ambience. The dissonance from the guitars may shock at first, but it soon nestles comfortably within Moongazer’s enthralling sound.

The further you get into this release, the greater it becomes. There’s a huge feeling of positivity about it, which aligns with how I feel in general right now. I hope it makes you feel the same. To close out this split, Mexico’s A Rose Dying In The Rain provide the cosmic, synth-laden ’Starry Eyes Like Late Sunset’. It’s heavily instrumental and when the band’s vocals join the mix, they’re slightly deeper. Their position doesn’t do any harm at all though, as there’s an authentic and organic feel to the whole song. There isn’t really anything else I can say to describe this release at this point.

All three bands are breathtaking and deserved of any attention they receive. I know a lot of people will pour scorn on so-called “blackgaze” bands but in an environment where genres are constantly getting blurred, they definitely have their place. If you’re still unsure, give this a chance. Light, Moongazer and A Rose Dying In The Rain deserve greater attention after this.

You can stream and purchase the split below:-

Moongazer's bandcamp:-

A Rose Dying In The Rain's bandcamp:-

Moongazer - https://www.facebook.com/moongazerofficial / Instagram - @moongazerofficial

A Rose Dying In The Rain - https://www.facebook.com/aroserainofficial/ / Instagram - @aroserainofficial

Fiadh Productions - https://www.facebook.com/fiadhproductions

máu - Anthesis

Labels: Zegema Beach Records

Formats: Vinyl/Digital

Release Date: 15 Nov 2024

Tracklist:

1. Sunder

2. Disheartening

3. Internalized

4. Restrain

New Californian screamo quartet máu released their debut EP Anthesis last November and it was released pressed on 10" vinyl through Zegema Beach Records. This physical release was so eagerly anticipated that it's already sold out! The band spent loads of time honing their sound live, playing with the likes of Loma Prieta, State Faults (and many others) before even releasing any music online. In July, they're supporting Beau Navire! Is it too hyperbolic to call this the new golden age of screamo?

máu don’t just play typical screamo, as their sound is an amalgamation of emoviolence, metallic hardcore and even subtle blackened tones on EP opener ‘Sunder’. The vocals are frenetic, as is the percussion. The guitars are where the majority of their melody comes from and they’re absolutely spot on, without being too melodic or clean sounding.

By now, we’re used to either pensive/atmospheric or furious openers and to be honest ‘Sunder’ sits in between. ‘Disheartening’’; however, is a lot more violent in it’s delivery early on, before máu treats us to some more post-hardcore/almost metalcore layers, which slow the tempo down somewhat. 

We’re currently at the back end of a heatwave, which is still pretty rare for the UK, so it’s very humid. The intensity of Anthesis does nothing to clear the air as ‘Internalized’ leads into the EP’s latter half in superfluous fashion. The layered instrumentation really hits the spot, as the vocals are used sparingly but powerfully at the same time.

The feedback that closes out ‘Internalized’ leads straight into the final track ‘Restrain’. At the same time, the sky around me goes really dark (as if it’s in tune with what I’m listening too!). I said earlier on in this review that I think we’re in another golden age of screamo and I stand by that as máu take us from abject heaviness to gentle emo and slowly back again.

Four epic songs delivered in just over ten minutes from a band that’s full of talent. I’ll admit that sleeping on the physical 10” release hurts (but it was my own fault). máu leave an instant impression musically with this EP. Keep your eyes peeled for more, hopefully…

You can stream and purchase Anthesis digitally from máu below:-

máu Instagram - @mau_band

Zegema Beach Records - https://bsky.app/profile/zegemabeachrecords.bsky.social

Genune - Infinite Presence

Labels: Consouling Sounds

Formats: Vinyl/CD/Digital

Release Date: 17 May 2025

Tracklist:

1. The Sun Will Always Shine

2. Little Fountains

3. Stay a Little Longer

4. Infinite Presence

5. To Not Grow Old

6. I Want You Here

The dust has barely settled following Download Festival (I wasn't there) but it's impossible to escape all of the articles about anonymous/masked bands. I like intrigue and mystery as much as the next music fan, though I also like to look deeper; seeking out bands that deserve more of the spotlight. I vow to get better at this and tonight's review was chosen by the heart and not the usual schedule. 

Genune are a black metal quintet from Bacău/Cluj-Napoca, Romania and might only be the fourth band from the country alongside Bastos, Siculicidium and Void Forger that I've featured here. Genune started life in 2012 with their self-titled demo. It was followed by a further demo called Inner Depths, as well as two full-length albums called Cern sol and Inert & Unerring. Following the release of their third album, Genune are due to play their first live show at Romania's Dark Bombastic Evening festival alongside the likes of A Swarm Of The Sun and Year Of No Light, amongst many others in August.

I purchased a black metal album (a complete blind buy) from my local record store over the weekend, though it’s probably on the other end of the spectrum compared to this album from Genune. After the initial heaviness that opens ‘The Sun Will Always Shine’, you’re greeted with clean vocals and shoegazey instrumentation. To be fair, the band do describe themselves as more of an atmospheric/post-black metal band. 

That said, they do furious black metal really well, without any hint of parody. It both punctuates and integrates itself with the band’s melodic approach brilliantly during what is a lengthy opener. It’s already noticeable that Genune prefer expansive dynamics over instant gratification and it’s a joy to hear as piano adorns the ending alongside angular guitar riffs, and percussion.

The band’s metallic tones are even more prevalent on ‘Little Fountains’, alongside an uplifting mood that’s created by their instrumentation as a whole. Black metal can be uplifting and emotive, as Genune proves here. Instrumental for nearly three minutes, when the vocals do kick in, they do nothing to ruin the mood. After a brief period of abrasiveness, you’re plunged into silence before yet more exquisite musicianship.

A foreboding atmosphere drifts over you during ’Stay a Little Longer’, in what is Genune’s heaviest song on Infinite Presence so far. Really expansive and expressive music has been my go to this year so far, and that could cover all manner of bands or genres I know but maybe my tastes are changing again. With instant gratification comes a rush but only a short one. It’s much better to saver these memories.

The album’s title-track ‘Infinite Presence’ is acoustic, which catches you off guard slightly. It is loverly though and soothes the soul with it’s gentle melody. The sound of the fingers sliding up and down the strings/frets somehow adds to the feel as well. That brief moment of calm is quickly dispensed with as Genune launches into penultimate song ’To Not Grow Old’. Thankfully though, it’s not all fire and brimstone as the quintet adds in classy melodic passages complete with gothic-style clean singing. It’s also the first time (at least to these ears) that Genune makes use of electronica, which by the way is used perfectly.

Album closer ‘I Want Your Here’ is also it’s longest song and it continues the affair (or relationship with) metallic black metal. Containing all of the elements that make this album so listenable, it grows with every bar. Easily the most majestic piece of this record, that may well usher in a new era when it comes to Romanian heavy music. People have compared the band to Deafheaven et al but they’re so much more than that.

With my attention being constantly drawn to so many different bands and releases, I get overwhelmed. Spending precious moments discovering and listening to bands out of nowhere (like Genune) is more than worth it though. Infinite Presence is brilliant and if it hits you like it hit me, please check out their back-catalogue too.

You can stream and purchase the album on all formats from Genune below:-

Physical copies can also be purchased from Consouling Sounds here - https://store.consouling.be/collections/new/consouling-sounds

Genune - https://www.facebook.com/genunebm

Consouling Sounds - https://www.facebook.com/ConsoulingSounds

Dromos - Dromos

Labels: Dry Cough Records

Formats: Tape/Digital

Release Date: 13 Dec 2024

Tracklist: 

1. Caveat Emptor

2. Memorial Moss

December last year saw the release of the debut EP from UK funeral doom band Dromos, via Dry Cough Records. Dromos is made up of four experienced musicians with international roots, plying their trade in a corner of the doom metal genre that's synonymous with the UK while also being underrepresented in favour of other forms of extreme music. As festival season kicks off, don't forgot that darker/colder nights are approaching and with them come the likes of Dromos.

This self-titled EP features two songs, one of which is an instrumental. ‘Caveat Emptor’ opens in slow-building fashion with low riffs, feedback, down-tempo percussion and deep vocal bellows. All of those ingredients form the basis for Dromos and their funeral doom, but there’s more to their sound than that. Clean (almost chant-like) vocals present themselves alongside the subtle murmuring of death metal’s influence. Those more up-tempo moments reveal more about their individual experience as musicians but as we know, music constantly shifts, moving in cycles. 

If we didn’t have those shifts and cycles, musicians would just stay in their lane, forever producing the same thing (I could name a few very established bands doing that to this day). Doing so doesn’t harbour creativity and variation though, which is why listening to Dromos excites me as instrumental closer ‘Memorial Moss’ weaves a melodic path through acrid darkness. It’s sound is full of warmth and filled with old-school textures,  though those aforementioned textures are reimagined, not rehashed.

As a debut this EP is outstanding. It’s always great to hear a new band hitting the ground running (or more appropriately, crawling), even if it’s made up of experienced hands. I’m looking forward to what may come from Dromos in the future.

You can stream and purchase the EP digitally below:-

Tape copies can be purchased from Dry Cough Records here - https://www.drycoughrecords.com/product/dromos-dromos-cassette

Dromos - https://www.facebook.com/dromosdoom

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

Sinema - After The Flatline

Labels: Ds//fp records/Ephyra Recordings/Home To Heart/Self Versed Records/Zegema Beach Records

Formats: Vinyl/CDr/Tape/Digital

Release Date: 29 Nov 2023

Tracklist:

1. Stutter

2. ...and You Already Forgot

3. Hard To Get By

4. Speak Your Mind

5. I Can't See Through The Mirror

So there's a whole wave of bands coming through, being championed by labels that include Silverback Gorilla Records, Wax Vessel, ds//fp, Zegema Beach Records and a whole bunch I'm forgetting. The latter two have both had a hand in releasing After The Flatline by Texan emocore band Sinema. Following it's initial digital release in late 2023 via Ephyra Recordings, a 2024 tape pressing followed via Self Versed Records (alongside a repress earlier this year), as well as a super limited CDr release via both Ds//fp records and Home To Heart. 

ZBR has now swooped in with a vinyl pressing of the band's debut EP, which is crazy considering Sinema's members are still in school but then again not that surprising given that they recently appeared at ZBR Fest in Chicago. If you're struggling to keep up with the amount of stellar releases in 2025 so far, look away now.

Self-control is both a wonderful thing but also a brutal mistress. As I alluded to above, there are so many incredible bodies of music being released this year that it’s hard to keep up with and hard to resist hitting that order button on. I know because last month I received twelve releases I had ordered and I’m still awaiting another twelve. Enough of the trumpet blowing though and on with the show. Hearing Sinema for the first time takes me right back to first hearing bands like Underoath, Funeral For A Friend and Silverstein on opener ‘Stutter’.

It’s so full of energy and emotion. Music filled with both introspection and belligerent heaviness, while nostalgic clean singing rubs shoulders with piercing post-hardcore/emo-violence screams. ‘… and You Already Forgot’ features beautifully played guitar, that’s sensitive to Sinema’s calm approach before they switch things up again. It really feels like we’re going full-circle and though I might be rocking up late to the party, it’s welcomed.

I was so mesmerised by what I was hearing that I didn’t even realise it had progressed into ‘Hard To Get By’. Sinema’s flair for art/math-rock additions alongside their already amazing post-hardcore is hard to ignore in truth. Sometimes, we all need to just take some time away from reality, to unload and even compartmentalise what’s going on around us. This song and this realise helps us do that.

‘Speak Your Mind’ is a reminder that freedom of expression is vital and needed. I’ve not always been the best at speaking mine when it counts, but I’m getting older and bolder now. That may or may not have anything to do with this actual song though, which is filled with a mix of genuine rage and heart-on-the-sleeve honesty. Closing with ‘I Can’t See Through The Mirror’, Sinema push forth their most urgent and honest performance on this EP. Everything before was just as heartfelt but the shorter song length gives it a bit more of an edge.

Before hitting play on this, I was thinking it was going more abrasive and instant. Don’t know why I thought that. Sinema has shown that the emocore era isn’t dead and is in fact growing new roots with new bands. This is nothing short of excellent. Please don’t assume, just listen. 

You can stream and download the EP via ZBR below:-

At this point I need to mention that Sinema recently changed their name to I Promised The World, for reasons outside of their control. You can find them on Instagram at - @ipromisedtheworld.

digital and physical copies are available from the links below:-

Ephyra Recordings - https://4ephyra.bandcamp.com/album/4e022-after-the-flatline

Home To Heart - https://www.hometoheartrecords.com/product/sinema-after-the-flatline-cd

Ds//fp records - https://www.facebook.com/dsfprecords

Ephyra Recordings Instagram - @4ephyra

Home To Heart Instagram - @hometoheartrecords

Self Versed Records Instagram - @self_versed_records

Zegema Beach Records - https://bsky.app/profile/zegemabeachrecords.bsky.social

Кальк (Kalk) - Кальк (Kalk)

Labels: Hardcore For The Losers/JanML Records/Maya Von Lobeck/MarderschadenDIY/Polar Summer/Tadzio Records

Formats: Vinyl/Digital

Release Date: 09 Mar 2017

Tracklist:

1. Напалм

2. Черный Пес, Темный Лес

3. Привет, Героиня

4. Панк-рок Еще Дышит

5. Пыльная Звезда

6. Шлюха Из Бутово

7. Завтра Было Вчера

8. Метаморфоза

9. Зефир

10. В Радуге Столько Красивых Цветов, А Ты Выбираешь Говно

11. Отпуск В Панаме

It's taken what seems like an age but I'm revisiting my Polar Summer review series again. The Russian label has released (and continues to release) music by many obscure but exciting bands from across Europe and further afield. I'm trying to these reviews in order of release and this evening I've focusing on the label's 11th, which was the self-titled album from Germany's self-proclaimed feminist synthie screamo punks Кальк (Kalk). Their name nor their song-titles are in German and I wouldn't like to guess where they're from. This album came out in March 2017.

I own a copy of Кальк’s 2020 follow-up to this record, which is how I first heard them. Going back to their first album is a treat and opener ‘Напалм’ definitely sits in the punkier/noisier screamo camp, where simple and very effective percussion is joined by low bass/guitar riffs, really pissed off vocals and synths that completely change the tone of their sound, in a really unexpected way. They’re use is upbeat and they really fit with the music.

Кальк’’s songs aren’t long here and ‘Черный Пес, Темный Лес’ flies by in a wall of melody and rabid emoviolence, which in turn is drenched in feedback. I was in need of a midweek pick-me-up and man have I found it. ‘Привет, Героиня’ goes properly hard right from the off. The way everything is layered, especially with the addition of the synths keeps it from sounding disjointed or cheesy. I sometimes wince when I read about or listen to bands that use synths in their music but I can get behind their use here.

My fixation with the “s” word stops now, as ‘Панк-рок Еще Дышит’ starts with some warningly familiar melodic guitar before Кальк up the ante. They may not be spitting razors or blasting their way through this album but sometimes it’s better when a band does their own thing. This is unique. There’s a slight mid-tempo feel to ‘Пыльная Звезда’ yet that’s probably due to the punk vibe that flows through it. 

Before what seems like a blink of the eye, it’s onto the album’s second half and the sub one-minute song ‘Шлюха Из Бутово’, which is amongst it’s fastest and heaviest. It leads into ‘Завтра Было Вчера’ pretty much instantly and the mood shifts again, as even with the slightly jovial synths, the undertones are more unnerving. 

That said, the digital-esque opening salvo on ‘Метаморфоза’ continues throughout it’s entirety, allowing some light to permeate through the intensity that governs much of this release. ‘Зефир’ pokes hilarious fun at traditional matrimony and even includes some semi-clean vocals! I’m all for digs at society’s conservative/religious populous, so this song made me smile.

Penultimate number ‘В Радуге Столько Красивых Цветов, А Ты Выбираешь Говно’ drags everything back in a more furious direction. The occasionally chunkier riffs work great alongside the stomping tempos/drumming towards the end. Ending with ‘Отпуск В Панаме’, Кальк go from gentle guitar to pure post-hardcore brilliance in a split second and round out their self-titled record in epic form. 

People are often too scared to approach a band or a record that’s new to them. While Кальк are not new to me, their debut LP was. I’m here to tell you that you shouldn’t be afraid and that you should embrace that which you have not heard before. This album was released over eight years ago now but it still leaves an indelible mark. All I ask is that you give it a go.

You can stream and purchase the album both digitally, and (still!) on vinyl via Кальк's bandcamp page below:-

Кальк - https://www.facebook.com/kalknoise

Copies can also be purchased from the labels below:-

Hardcore For The Losers - https://hardcoreforthelosers.bandcamp.com/merch

MarderschadenDIY - https://marderschadendiy.tumblr.com/

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

JanML Records - https://www.facebook.com/JanmlRecords

MarderschadenDIY - https://www.facebook.com/marderschadenDIY

Polar Summer - https://polarxsummer.bandcamp.com

Tadzio Records - https://www.facebook.com/tadziorecords/