Friday 30 June 2023

Iron Rule - Soul Death EP + Soul Remover Video

Labels: 1134 Recordings

Formats: Digital

Release Date: 30-Jun-2023


1. Destined Death

2. Hate In My Veins

3. Soul Remover Ft. Jay Muller of Reminitions

4. Dream In Fear

Here's the third post in three nights (can't remember the last time I did that!). This review and video share comes with thanks to Total Deathcore, who sent me an e-mail last week about Californian deathcore band Iron Rule and their new video for the song 'Soul Remover'. It accompanies their new EP Soul Death, which is officially released today. If (like me) you're ready for something heavy, stick around.

This week’s been rough work-wise so I’m thankful for the evening escape. Iron Rule is a new name to me. They play down-tempo deathcore, which I’m hoping is a sludge-filled take on the sub-genre (though I’m not holing my breath for that). EP opener ‘Destined Death’  starts with an extended intro before Iron Rule gives you a small glimpse of what’s to come heaviness wise.

Their sound on ‘Hate In My Veins’ is both frenetic and also slightly clinical. I read that they’re going for something that sounds (and I quote) “as heavy as a crumbling skyscraper, without sacrificing industry-standard production and listenability”. I guess they want to sound heavy and marketable. They certainly sound heavy, though I’d love a bit more dissonance and feedback with the guitars higher up in the mix.

’Soul Remover’ is a proper downtempo beast, complete with low growls. The guitars are still too low in the mix for me, but I’m just a bit fussy I guess. With the current state of deathcore you can’t expect every band to come out sounding like Lorna Shore (and why would they).

EP closer ‘Dream In Fear’ is filled with the obligatory expletives that made nu-metal so shocking in it’s day. Don’t get me wrong, Iron Rule’s music is still a good listen, especially when the slamming riffs come in towards the end. Iron Rule definitely have some chops and a clear path they want to follow sound-wise. If they keep building in terms of song-writing and heaviness, without relying on (too) clean and compressed production, they’ll be huge.

You can watch the 'Soul Remover' video via the This Noise Is Ours YouTube channel below (I'm sharing It with kind permission from Total Deathcore):-

Iron Rule -

1134 Recordings -

Total Deathcore -

Thursday 29 June 2023

Excrucis - Excrucis Full Album Premiere

Tomorrow will see the release of the new self-titled album from Chicago, Illinois screamo/math-rock quartet Excrucis. Bringing to mind a cross breed of Blind Girls and These Arms Are Snakes, with members having played in the likes of Nouveau (post-hardcore), Not For You (dark rock) and other bands over the last decade.

This evening I'm honoured to be able to bring you a full album premiere, in suitably unannounced fashion:-

You'll be able to see from the video above that the usual attention to detail has been put into the tapes from Tomb Tree. Those swirl tapes look amazing! In terms of pressing quantities there will be 151 tapes in all with 85 band white, 15 ZBR white, 25 orange swirl, 21 random swirl and 5 test dip tapes with matching swirl cases.

I'll be writing a full review of this release along with the Seasons Worn EP in the very near future, but here's the track list in advance of the release:-


1. One Must Make A Living

2. At Least Until The Plague Takes You

3. Mandated Violence

4. Proper Name, A Broken Plaything

5. Drowning The Second Sister

6. Conspiracy Of Solitude

7. Deviancy Amplification Spiral

8. Contrition

9. Maudlin Pirouette

You'll be able to stream and purchase the album digitally from Excrucis on bandcamp here:- 

You can order tape copies tomorrow from Tomb Tree via their US store here - and their CAN/INTL store here -

Tomb Tree -

Wednesday 28 June 2023

Coma Regalia - The Mirror

Labels: Adorno Records/Dingleberry Records/Hardcore For The Losers/Middle-Man Records/Pundonor Records/Time As A Color/Zegema Beach Records

Formats: Vinyl/Tape/Digital

Release Date: 10 Mar 2018


1. Return To The Hall Of Souls

2. Slohaugh En Sperata

3. Peel Back The Layers

4. Fragmental

5. The Face Underwater

6. Foreign Reflection

7. Shatter

8. Un Recognition

9. The Lie In The Dark

10. Horrid Reflection

I'm not sure what's been going on lately but the blog's been getting some proper love, for which I'm very grateful. It does feel like a lifetime though since I revisited the ZBR roster. As you'll know from previous posts in this little review series and from before; Coma Regalia has been a mainstay here in recent years. The Mirror was released back in early 2018 on tape and digital formats, as well as on the rarely seen 11" vinyl format (does anybody know of any other records released on 11" vinyl?). At the time of writing this intro, copies of said vinyl record still exist for sale. Will they still be on sale after this review? Who knows...

Havoc-inducing emoviolence with a sensitive side. Probably the most apt way I could describe Coma’s sound without repeating what I’ve said before. The Mirror’s opener ‘Return To The Hall Of Souls’ contains truly biting post-hardcore that lets very little light in, which is at odds with my opening sentence. It bleeds straight into ‘Slohaugh En Sperata’, which kicks off in quick-fire fashion before seemingly slowing down as if time was standing still, only to conclude with wailing feedback.

They say silence is golden but you don’t actually get very much of it here as ‘Peel Back The Layers’ takes all of Coma’s punk sensibilities and applies them to a sub one-minute blast. It’s a rager that drags you into the broodier and more uncomfortable ‘Fragmental’, where once again feedback rules over various parts of the music, except this time in greater amounts.

‘The Face Underwater’ is rhythmic and almost hypnotic initially, before that recognisably melodic guitar tone whisks you off to a better place. Talking of being whisked off to a better place, ‘Foreign Reflection’ keeps up that notion with some beautiful guitar work once again. Having watched some of the performances from this weekend’s Glastonbury Festival, I’d quite happily say that Coma Regalia would wipe the floor with them live if they ever got the chance to perform there (remember the time Napalm Death and Wormrot played inside a graffiti-laden tube train?). 

As the temperature here gets hotter and the atmosphere gets stickier, being greeted by The Mirror’s heaviest song ’Shatter’ is both unfathomable and cleansing. That same atmosphere flows into ‘Un Recognition’, which does contain more treble to brighten things up slightly. This is a body of work that genuinely represents the minds, bodies and souls of it’s creators. You can’t get more life affirming than that. 

Penultimate song ‘The Lie In The Dark’ is upbeat and really skilfully played. Artsy in places without being pretentious, it uses the collective musicianship of Coma Regalia to weave something that’s danceable and forgiving before the album’s final song ‘Horrid Reflection’ takes hold. I’ve always enjoyed releases like this where bands end on longer songs, and this is no different. It’s first half is instrumental and even when the full band kicks in, it still retains that musical heft. At times it sounds like a folk/sea shanty too.

Another tremendous release from a band filled with great souls. Society may be more polarised than ever but music like this will always bring us together.

You can stream and purchase The Mirror directly from Edie's label Middle-Man Records below, where vinyl copies are still available (including one solitary test-press!):-

Coma Regalia -

You can also buy copies from the below labels:-

Adorno Records -

Hardcore For The Losers -

Pundonor Records -

Time As A Color -

Zegema Beach Records CAN/INTL - / USA -

Dingleberry Records -

Hardcore For The Losers -

Middle-Man Records -

Pundonor Records -

Time As A Color -

Zegema Beach Records -

Friday 23 June 2023

Seasons Worn - The One Who Stops The Water Premiere

Legend has it that Dave Norman (head honcho at Tomb Tree) went to see Vancouver hardcore band Thank You Driver, where he also witnessed fellow Vancouverites Seasons Worn, chased (or tracked) them down in the parking lot and "connected' with them. That connection led to the impending release of their newest EP A Flower In Faith on July 14th.

This evening, I'm very excited to be able to bring you a premiere of the EP's fourth song 'The One Who Stops The Water' in advance of the full release:-

A Flower In Faith will be released on 50 tapes. There are no pics of them right now, as Dave's dipping them as we speak.

In terms of what you can expect from this EP; expect metalcore akin to The Fall Of Troy coupled with elements of Refused, Poison The Well and Your Spirit Dies. Needless to say, it's a proper banger and it proves that there's really no substitute for witnessing a band in a live setting.

I'll be looping back round in a week or so with a full review of the EP, but for now make sure you jam the heck out of this track and keep an eye on the below social links for further news regarding the release:-

Seasons Worn -

Tomb Tree -

Wednesday 21 June 2023

The Cartographer - The Cold Black EP

Labels: Self-Released

Formats: Digital

Release Date: 30 Jun 2023


1. Deathbed

2. Misery System

3. Fiend

4. Red Tape

5. Vices

30th of June 2023 sees the release of the brand new EP The Cold Black from Derby, UK deathcore act The Cartographer. The band formed in 2013 and The Cold Black is their third EP, following both 2016's Human Error and 2021's Mind Atlas. Being on the more tech/progressive side of deathcore, they've played on bills alongside Martyr Defiled, Uneven Structure and Ingested amongst others. The EP release is due to coincide with their appearance at this year's UK Tech-Fest, where they'll hit the main stage on the 30th alongside Conjurer, Hacktivist, Loathe and more. 

Been really in the mood for some home grown musical talent since my last post about a-tota-so. I have Polymath PR to thank for this evening’s listen, in the form of Derby deathcore/tech-metallers The Cartographer and their brand new EP The Cold Black. The EP’s artwork struck me right away with it’s rusty/autumnal vibes. Opener ‘Deathbed’ contains plenty of atmosphere, on-point musicianship and vocals that embody everything that’s good about UK deathcore. The sub-genre’s been maligned in recent times but with  bands like The Cartographer, it sounds like it’s golden years are swinging back around.

Misery System features Tristan Hill of fellow UK deathcore band Azazel and it slays! There’s no other way to describe it really. Uptempo yet brooding with plenty of vocal hooks, semi-clean singing and melodic leads added for good measure. All kept in check by hefty bass and up-front percussion. The EP’s most technical song so far is ‘Fiend’, which ironically also it’s shortest. Rhythmic guitar work goes toe to toe with off-kilter drumming, showing exactly why these guys are playing this year’s addition of UK Tech-Fest. There’s no sense of The Cartographer merely copying bands that have gone before either. They take things in their stride and sound all the better for it.

‘Red Tape’ starts with some hectic drum ’n’ bass that brings to mind some of the early UK djent protagonists. It adds a lot to the music without overrunning it, while the band does what they do best. The semi-clean vocals are a great addition once again, showing that their influences aren’t just rooted in the brutal realm. EP closer ‘Vices’ makes great use of The Cartographer’s lovely bass guitar tone as part of it’s intro. It’s followed by a song that’s as atmospheric as the opener was. Not overly complicated tempo-wise, it’s strangely catchy with the addition of choral singing in the background and a stomping beat that’s more death metal than core. 

This is a great sounding EP. I’ve been somewhat on the fence about modern djent/deathcore bands in recent years, but I’ve also been quick to admit that my listening habits are akin to ADHD at the moment. The Cartographer are a real breath of fresh air sonically. Exactly what’s needed when society and white noise overwhelm. Hopefully a physical release will see the light of day at some point too.

The Cold Black EP will be available on all platforms on 30th June (pre saves are available too). Links can be found via the Linktree here -

You can grab EP related merch, including long-sleeves, t-shirts and caps here -

The Cartographer -

Sunday 18 June 2023

A-Tota-So To Play Summer Festivals

Derby, UK math-rock band a-tota-so are due to play at some great UK festivals this summer, alongside a whole host of national and international bands. They'll also be joined by some special guests of their own, as they perform songs from their most recent full-length album Lights Out.

On July 15th they'll be performing at Nottingham's Mangata Festival, which takes place across three different venues in the city. Cheek out the flyer below for the line-up:-

Then on July 22nd, they'll be heading to Hyde Park Book Club is Leeds to perform with Bristol art-rockers No Violet and local Leeds dreampop band Fern Veh. The gig has been organised by Bad Owl Presents. Here's the flyer:-

Finally, on August 17th comes the big one, as a-tota-so hit the stage at ArcTanGent as part of Thursday's line-up, which also includes Converge, Russian Circles, Cave In, Chat Pile, Chinese Football and countless more besides them. Here's the full festival flyer, as well as Thursday's clash-finder in case you still haven't decided on the bands you want to see:-

In case you need any warming up for those three live appearances, here's the video for 'Far Enough' from Lights Out which features the vocals of Damien Sayell (of The St Pierre Snake Invasion and Mclusky):-

a-tota-so are currently in the process of writing their third album, which they're aiming to record later this year. Keep up to date with their other goings on here -

Mangata Festival -

Bad Owl Presents -

ArcTanGent Festival -

Thursday 15 June 2023

Atvm - Famine, Putrid And Fucking Endless

Labels: Self-Released/Dry Cough Records

Formats: Digital/Tape/CDr/Vinyl

Release Date: 28 Apr 2021


1. Sanguinary Floating Orb

2. Ⲁⲛⲋ-ⲟⲩ Ⲙⲁⲧⲟⲩ

3. They Crawl

4. वाघनख [Vagh Nakh]

5. Squeal In Torment

6. Picture Of Decay

7. Slud

8. Finisher Of The World

It was the 10th anniversary of UK label Dry Cough Records last week. A label known for some of the best extreme doom/sludge/death metal from both the UK and abroad. The reason I mention this occasion is because it was Dry Cough that introduced me to UK progressive death metal band Atvm, through the 2022 double vinyl release of Famine, Putrid and Fucking Endless. The album had already been released by the band on tape and CDr formats a year prior, but the striking artwork that adorned the record drew me in when I first saw it. The complementing red and green LP's sealed the deal. According to Metal Archives, Atvm now makes up part of the UK roster of bands over at Transcending Obscurity Records (including Abaddon Incarnate, As The World Dies, De Profundis, Deus Vermin, The Drowning and Warcrab amongst others!).

Mid-week feels like the perfect time to dive into some progressive/slightly avant-garde old-school death metal. From the bluesy/jazzy intro of opener ‘Sanguinary Floating Orb’, you’re greeted with proper NWOBHM-style guitar, which culminates in intricate riffs. Alongside that there’s off-kilter yet bouncing percussion, growls that vary from deep to higher-pitched wails and instrumental passages filled with an abundance of musical prowess. We’re only on the first song too!

Despite Atvm’s old-school leanings, they do a great job of sounding modern (without it being forced of cheesy) and ‘Ⲁⲛⲋ-ⲟⲩ Ⲙⲁⲧⲟⲩ’ proves that with it’s melodic riffs, which could give the likes of The Black Dahlia Murder and Trivium a run for their money. This album grabs you in the right way and doesn’t let go. It’s infectious (just like the aforementioned comparisons). 

The songs are lengthy enough to get your teeth into. No pointless ambient interludes are needed as Atvm blast from one rip-roaring number to the next. ‘They Crawl’ is filled with urgency and chainsaw-like riffs, sitting at the lower end of Atvm’s spectrum. It all sounds a lot more furious and thrash-like, which is fine with me! ‘’वाघनख [Vagh Nakh]’ sees the thrash influence grow even further as it follows on from ‘They Crawl’ seemingly without a pause to speak of. This is such an infectious release, as if my previous ramblings haven’t already made that clear enough! Just when you think it’s coming to an end at the six-minute mark, things roar immediately back into life once again, closing the album’s first half out perfectly. 

The album’s second half is even more baffling in it’s directional moves, from the dank/gruesome old-school blueprint to the multi-faceted, multi-genre approach that Atvm takes on ‘Squeal In Torment’. I’m beginning to regret reviewing this record on such a warm evening. Thankfully the progressive/blues-laden mid section makes up for the over-excited armchair headbanging that’s going on right now, let alone the final-third’s majesty. That majestic vibe is quickly banished by the record’s fastest and heaviest song ‘Picture Of Decay’. Delivering Atvm’s sound at it’s most authentically old-school. Bands like Atheist and Cynic would be proud of the steps taken here to enhance a sub-genre that’s often seen as being too br00tal. Spurious claims (from myself) aside, it’s utterly brilliant from beginning to end. 

Penultimate song ’Slud’ is yet another bewildering slab of prog/tech/OS death metal that’s clearly been sent to discombobulate you as a listener. It twists and turns, pulling and pushing you in different directions. The infectious musicianship that’s been present throughout grows with each and every bar here, before the tempo slows to a gnarly doom-like crawl, reminiscent of Dry Cough’s early releases (Sea Bastard, Open Tomb, Ommadon et al) and draws to a close with a stupendous drum solo.

What’s a little curious is that the LP’s final song ‘Finisher Of The World’ isn’t available to listen to as part of the full album Bandcamp stream from either Dry Cough or Atvm themselves, so if you don’t own the LP pressing you’ll have to stream it as a standalone song via Atvm’s Bandcamp page. That’s no real hardship though. ‘Finisher Of The World’ itself borrows from the uptempo delivery of ‘Slud’, compressing everything into less than four minutes of utter death metal madness. 

At the time of writing the double LP pressing from Dry Cough Records is still available to purchase, so it’s definitely worth hitting buy on if you haven’t already. If (like me) it’s the first release you’ve discovered by Atvm, you won’t be disappointed. I can’t wait for more from them in the future.

You can stream and digitally purchase the album, and also stream 'Finisher Of The World' from Atvm below:-

Vinyl copies are still available from Dry Cough Records here -

Atvm -

Dry Cough Records -

Sunday 11 June 2023

Cady/Majorel/Agak/Coma Regalia - Desolate Hands Move The Hour 4-Way Split 10"

Labels: Cyllene Records/Dance Happy Doom Crew/Kakusan Records/MeatCubeLabel/Middle-Man Records/Zegema Beach Records

Formats: Vinyl/Digital

Release Date: 21 Apr 2018


1. Cady - Diamond Dust

2. Cady - Beyond Being Seen

3. Majorel - Negation

4. Majorel - Surrounded By Heartbeats

5. Majorel - Behind Glass

6. Agak - 焦燥

7. Agak - 衝動

8. Agak - 選択

9. Coma Regalia - Avalon

10. Coma Regalia - Edara

11. Coma Regalia - Pangea

The 10" vinyl format is a much misunderstood format in my opinion. It takes up less space than a 12" yet it's more engrossing than a 7". I've been expanding my 10" collection slowly and when I realised that this split was next on my ZBR Roster review list, I had to dig out my clear w/white haze copy  again.

The split features eleven songs from four bands who call the US, UK and Japan home. It's one of a few releases to feature a UK band (alongside Big Machine, Komarov and Wreck Of The Minotaur if my memory serves me correctly), alongside Japan's Agak and USA's Majorel and Come Regalia. An International line up of labels helped with it's release too.

This 10” split is chock full of utterly insane screamo/emo-violence, starting with the UK’s own Cady and ‘Diamond Dust’. It’s a song filled with dual high/low screams, blasts and a latter-half that builds in emo vibes right the way up to grooving punk and a crescendo of heady screamo at the end. What a way to kick things off. Cady’s second song ‘Beyond Being Seen’ is a much more introspective take on screamo, with a subtle blackened nod, showing just how varied the UK skramz community is. 

Next it’s the turn of the USA’s Majorel and their gloriously melodic ‘Negation’, which features so much raw emotion and genuinely inspired musicianship. It’s also artsy without being artsy. ‘Surrounded By Heartbeats’ takes a slightly more traditional screamo approach but only briefly, as it builds in intensity. Their final song ‘Behind Glass’ provides one last glimpse into their complex yet endearing sound. 

Japanese bands have always intrigued me with their unique approach to music in general, let alone extreme music. Agak’s sound is no less unique with their truly harsh vocals and atmospheric sound on opening track ‘焦燥’. There’s no time for rest as ‘衝動’ brings panic chords and metalcore influences to the party. It’s everything I expected and more. Agak’s closing song ‘選択’ is a reminder of just how dextrous and gentle they can be, while also being utterly intense at the same time.

This 4-way split concludes with the familiar tones of Coma Regalia (also from the USA), though ‘Avalon’ is way more melodic and clean than I remember their sound to be. Either way, it’s lovely. ‘Edara’ snaps back into emo-violence territory,  with a lashing of melodic riffs for good measure. Such a fulfilling piece of music. Their final song ‘Pangea’ is also their fastest and therefore their most intense. I love how they go through different musical patterns only to end up back at heavy again.

This split is exceptional in every way. From it’s packaging to the vinyl variants and of course, the music contained within it’s grooves. If you haven’t picked up a physical copy yet I implore you to do so. Help sell this thing out because it deserves it.

You can stream and purchase Desolate Hands Move The Hour digitally below:-

Physical copies can be purchased from the labels below:-

Dance Happy Doom Crew -

Kakusan Records -

Middle-Man Records -

Zegema Beach Records CAN/INTL - / USA -

Cyllene Records -

Dance Happy Doom Crew -

Kakusan Records -

MeatCubeLabel -

Middle-Man Records -

Zegema Beach Records -

Thursday 8 June 2023

Paracrona - Sun God

Labels: Self-Released

Formats: CD/Digital

Release Date: 24 May 2023


1. New Impurity

2. Carry The Cross (feat. Baard Kolstad)

3. Thriller (feat. Baard Kolstad)

4. Sun God

5. Mendacious

6. River Of Pain

7. Therefore I Move The Time

8. Gates Of Immortality

9. Reasons

Staring at my laptop screen isn't going to help me write anything, especially when I've seen Norwegian band Paracrona described as Symphonic Black Metal, Progressive Death Metal and Blackened Progressive Metal by three separate PR agencies. I'm not criticising them but how am I supposed to write an accurate review if I can't adequately describe Paracrona's sound. I'll have to do it the only way I know how, which is to listen to the band themselves.

Paracrona is a sextet of musicians from multiple locations (I guess you could call it an international band). Formed by Ringo Christiaan van Droffelaar (Netherlands) and Oystein Hansen (Norway)  alongside a host of musicians that have contributed to bands such as ICS Vortex, Greve and Fortid amongst others. Sun God goes beyond simple black metal, so let's see what Paracrona has in store.

Sun God stretches out for almost an hour, which is bold for a debut album. Opener ‘New Impurity’ begins with a lengthy orchestral/symphonic passage that abruptly leads into a sound that’s rooted in black metal, unsurprisingly. It has some really progressive moments, thanks to the guitar work that adds a boat load of melody. I was worried about keys/synths taking over but it isn’t the case here. Paracrona actually describe their music as ‘quantum realism metal’, which is a new descriptor amongst many. ‘Carry The Cross’ features the guest drumming of ICS Vortex’s Baard Kolstad, which is kind of strange given that Paracrona already have a drummer in the form of Laszlo Juhos. Whatever their thought process is here, ‘Carry The Cross’ is a ferocious black metal number,

The second song to feature Baard Kolstad is ‘Thriller’. Don’t let the rock ’n’ roll intro fool you here as before long Paracrona launches straight back into their rip-roaring black metal. One thing’s for sure; you’ll get your money’s worth from this release thanks to it’s song lengths alone. The albums’s title track ’Sun God’ features a more mid-paced, post-black metal vibe in between the more up-tempo passages that make up the majority of the song. As with the album so far, it’s very accomplished and scratches the extreme metal itch, yet there’s something missing for me (and I’m struggling to put my finger on it, which means it’s probably inconsequential).

The progressive tag that’s been assigned to Paracrona is pretty spot on, especially when listening to ‘Mendacious’ and it’s epic lead guitar work. It gets the heart rate going, which is the feeling that’s been missing so far. The bass-heavy tones of ‘River Of Pain’ are slightly at odds with it’s symphonic blueprint, though thankfully that blueprint is subtle. I have to say that the more I listen to this album, the more it’s growing on me. ‘Therefore I Move The Time’ is on the more progressive end of the spectrum, with additional time-signature changes amongst it’s black metal arsenal of blasts and riffs. The choral and melodic mid-section changes the mood, bringing it back from the icy depths.

I’ve never been the biggest fan of power metal or true symphonic/operatic metal, but I hear elements of those sub-genres nestling in Paracrona’s music, especially on ‘Gates Of Immortality’. Obviously, theirs is a much stronger and more extreme sound overall but the use of different musical elements do help to elevate that sound to a higher place. Definitely leaving the best to last, ‘Reasons’ comes at you energetically right from the off. Twisting and turning through Paracrona’s various states of heaviness, to their most introspective and melodic. It’s the lengthiest song on Sun God and also it’s grandest.

Overall this is a very strong album. I didn’t know what to expect fully when I hit play and may have been slightly bias towards black metal bands with even greater progression recently, but I really enjoyed this one and it’s balance between cold Norwegian black metal and European melodic metal.

You can stream and purchase Sun God digitally below:-

CD copies and other merch can be purchased here -

Paracrona -

Friday 2 June 2023

AUX.AURA - Stepped On Smiles Song Premiere + EP Review

On June 13th Canadian label Tomb Tree will be releasing the self-titled EP from the band AUX.AURA. Prior to the release, it's my pleasure to be able to bring you a special premiere of 'Stepped On Smiles', which is the fourth and final song on the EP. There's very little info online about them (though they've been described as "Senza goes metalcore?") but that's fine because their music does all the talking as you'll find out below:-

Tomb Tree will be releasing the EP on tape, limited to 43 copies. Check out a sneaky peek at the goods below:-

At this point I was just going to talk about the song that's taken centre stage this evening, but where's the fun in that when the full EP is calling me.


1. UpRightDownLeft With Grief

2. Am I Boring You?

3. Borderline Parasite

4. Stepped On Smiles

Aux-aura is a proper quick-fire EP. Opener ‘UpRightDownLeft With Grief’ is it’s longest song and is filled with panic-chords, glitchy riffs and screeching vocals that’ll give The Body a run for their money. The percussion is epic and quite upfront in the recording, while overall it sounds and feels truly invigorating. Mathy and violent are words that aptly describe this release. ‘Am I Boring You?’ Is anything but boring. The riffs take more of the stage and help elevate a sub two-minute song into something much bigger. The vocals pierce through the instrumentation perfectly and while some may call them grating, they’re exactly right for this release. Insane!

‘Borderline Parasite’ is the brutally urgent and on-point song that this EP’s been promising, with tempo changes and a heightened sense of anxiety running through it. I know that people consider the golden age of mathcore/emoviolence to have long gone but on this showing, it’s very much re-igniting. Final track ‘Stepped On Smiles’ ends the EP in excellent fashion. with some of the fastest drumming you’ll ever hear alongside guitars and vocals that more than match in ferocity. Musically the EP’s technical as well as fast, which gives you more if you invest your time in it. It’s over before you know it and if you’re like me, you’ll want it to go on and on. I don’t know where Tomb Tree finds bands like AUX.AURA but I want to know the secret!

Keep an eye on Tomb Tree's store on June 13th to make sure you don't miss out on this one -

Tomb Tree -