Searching The Shores For My Jackie, Oh - You'll Despise Yourself

Labels: Polar Summer

Formats: Tape/Digital

Release Date: 30 May 2017

Tracklist:

1. Untitled

2. I Hate Your Lifestyle

3. More Than One Hour

4. Possession

5. Two-Tone Snakeskin Boots With Rolled Sleeves

6. Crush On You

7. I'll Ask Her

8. I Listen To A Park Jefferson Song And Go To Bed

9. Even Then You're Weak

Back again with another (and long-awaited, by me at least!) Polar Summer roster review. I sometimes  obsess over specific labels and having collected some of Polar Summer's releases already, I chose to delve into their catalogue. I'm still looking to build up and maybe complete the collection one day but for now digital streams will do.

Searching The Shores For My Jackie, Oh are (or were) an interesting band. From Kazan in Russia, they played emoviolence and had two releases in 2017 that were three months apart, if that!. The first was their self-titled album in January, which was released via Canadian label Le Blast Records and the second was this album in March, which featured some of the tracks from that S/T album and was released on tape by Polar Summer from Russia. That's all the info I have on them!

It’s very warm here this evening. We’re not used to it in the UK, as I’m sure I’ve said before. As I write this review, I’m melting and I like the heat! The emoviolence of Russian band Searching The Shores For My Jackie, Oh isn’t going to help me cool down so I might as well dive right in. ‘Untitled’ opens the album in a gentle fashion. It’s instrumentation is calming, though there’s a subtle rawness to it as well. It’s a hint at what’s to come maybe. ‘I Hate Your Lifestyle’ is where the band explodes. My first reaction was that the song-titled was a jab at Swedish emo band I Love Your Lifestyle, but I can’t conceive a reason why that would be.

What I can conceive though is just how raw and emotive things get on ‘I Hate Your Lifestyle’. It barely lasts over fifty seconds yet it’s authentic rawness and it’s caustic vocals show exactly what Searching The Shores For My Jackie, Oh are/were about. From here on in I’m going to refer to them as Jackie, Oh for ease. I think people who love acts like The Body will really like this album, especially thanks to the high-pitched vocals. ‘More Than One Hour’ proves exactly why, while also delivering percussion and guitar work that sounds engrossing and uplifting even.

Just like ‘I Hate Your Lifestyle’, ‘Possession’ is another sub one-minute blast of intensity. The vocals are buried further in the mix here as the instrumentation towers over them somewhat, but in doing so it takes away some of the caustic feel. ’Two-Tone Snakeskin Boots With Rolled Sleeves’ explodes after a brief period of slow guitar, only to fall away again thirty-seconds later as Jackie, Oh drop into more of an emo stance with gentler instrumentation and grungier shouts towards the end. Proving that feedback is a key staple of every emoviolence song, Jacki, Oh go a bit more artsy during’ Crush On You’. There’s something about it that comes across differently. I think it’s the tempos they use 

Rolling instantly into ‘I’ll Ask Her’, that artsy flair comes out even more in the riffs along with the switch in pace and mood mid-way through. The way the cleaner guitars and drumming sit alongside the piercing vocals shouldn’t work but does. ‘I Listen To A Park Jefferson Song And Go Back To Bed’ leans more towards hardcore and is very much darker in tone. It’s probably my favourite song on You’ll Despise Yourself. Jackie, Oh close out with ‘Even Then You’re Weak’ and they channel the inner emo band once again, punctuating the violence and creating the best of both worlds.

In a music community where short-lived bands are the norm, I can’t think of many whose life was as brief as Searching The Shores For My Jackie, Oh’s was. Two releases in three months was impressive output though and with them still being available to listen too, what is there to loose. Now, what do I have to do to get my hands on tape copies!

As I mentioned above, their S/T release and this one are still available to stream and purchase as name-your-price downloads via their bandcamp page below:-

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

Othiel - World's Fastest Car

Labels: Zegema Beach Records

Formats: CD/Digital

Release Date: 26 May 2025

Tracklist:

1. Never

2. Stones You Throw

3. Walk Through Walls

4. Narration Sickness

5. Luke

6. Canaries

7. World's Fastest Car

Californian screamo band Othiel returned earlier this year with their 2nd full-length release, World's Fastest Car. The story of their connection to Zegema Beach Records began in 2023 (though it was probably much earlier) when they released their first full-length LP We Will Be Our Home in 2023, swiftly followed by the 2024 split tape with Palefade, through sister label Tomb Tree. World's Fastest Car was released towards the end of May on 200 digipak CD's.

This last week has been the most frustrating of all weeks. I have been on annual leave and I had planned my time around the blog; however, whenever I make plans, they usually go to shit! I couldn’t let today slip away without getting something written. The newest release by Othiel was released on CD (remember those?) earlier this year and all copies have been sold. Maybe there will be a repress?!

Kicking off with ‘Never’, Othiel’s musical quality is noticeable. Grandiose melodies and atmosphere join harsh vocals, which themselves lean more towards hardcore. The spoken-word sample used mid-way through is a big nod towards American post-hardcore of the early 2000’s, as is the more expansive overall feel throughout the song. Things get a lot more urgent and angular on ‘Stones You Throw’, as Othiel add panic-chords and off-kilter time signatures into the mix. These ingredients don’t necessarily make the songs go faster but merely give off that impression. There’s still a lofty amount of mid-tempo feel here in places.

Chunkier riffs are a thing on ‘Walk Through Walls’, adding to what is a much more intense song. It has so many different musical elements; combining meatier hardcore riffs with their off-kilter post hardcore and changing tempos, Othiel show that they’re very adept at writing shorter songs without losing any of the feel. The ringing feedback that closes out ‘Walk Through Walls’ flows into ‘Narration Sickness’, which makes greater use of punk rhythms alongside dynamics that can’t be placed as easily. There’s definitely some production/mixing wizardry at play. 

‘Luke’ shows that there is a pattern to the album, as it opens once again with more ferocious post-hardcore, which gives way to more complex layers later on. It’s a pattern that creates a well-rounded song and indeed a well-rounded album. Honestly, it’s the perfect escape from what ails you thanks to Othiel’s love of emo and their exquisite musicianship. Penultimate song ‘Canaries’ sounds like it’s being controlled by a click-track early on but fear not as it’s just their precise drumming, which backs up even classier guitar/bass work and great vocals that add so much body to this release.

Closing out with the title-track ‘World’s Fastest Car’, Othiel give themselves space one again to allow their epic and expansive side to shine through, as if it wasn’t bright enough already! This album provides the perfect excuse to shut out the noise around you. Othiel are mature well beyond their years as a band, showing that they’re destined for the highest echelons of the current screamo rostrum.

As this release is sold out on CD format, the only way you can hear it right now is by streaming and/or purchasing it as a digital download via the ZBR bandcamp page below:-

Othiel Instagram - @othiel_ca

Zegema Beach Records - @zegemabeachrecords.bsky.social

Amenra - De Toorn

Labels: Relapse Records

Formats: Vinyl/CD/Tape/Digital

Release Date: 28 Mar 2025

Tracklist:

1. Heden

2. De Toorn (Talisman)

Earlier this year Belgian post-metal/extreme metal band Amenra released two EPs via Relapse Records, called De Toorn and With Fang And Claw. Both EPs look back at their career to date while also looking forwards to their future as a band. Over recent years they have become one of the most admired/revered acts in extreme music and this November, they'll be touring the UK and Europe around their much anticipated performance at Damnation Festival in Manchester.

The weight of life that sits heavy on our shoulders can sometimes become too much. With economic, personal and technological pressures (AI and social media being two prominent examples); it’s hard to switch off and appreciate the beauty, and humanity that surrounds us. This week is about doing just that for me and after a day filled with lazy solitude, being surrounded by heaviness is perfect.

Opening De Toorn with ‘Heden’, which builds very slowly from a quiet percussive beginning, the stirring musicianship of Amenra comes to life. The spoken-word lyrics are sparse yet striking, the instrumentation clear and spacial. It allows for self-inward reflection without it being sign-posted, and it shows what a band can do without dissonance or feedback ruling the recording, Obviously, this wouldn’t be an Amenra release without that heaviness and they wait until the song’s final quarter to unleash it. It’s a shock to the system in a way but also extremely cathartic and cleansing too.

Second track ‘De Toorn (Talisman)’ follows in very much the same form. Not as slow building but not immediate either. Subtle percussion and bass grow alongside melodic guitar, and more spoken-word vocals/choral ambience; though the music itself doesn’t build as expected. I think that’s kind of the point here, as nothing should be expected or be predictable in life. Amenra take that thought process by the hand and deliver another crescendo-like ending. 

Ultimately, this EP will fill you with all kinds of emotions. Amenra have crafted something truly beautiful here and a live setting is the best place to experience it, if you’re lucky enough to be able to catch one of their up-coming shows.

You can stream the EP digitally and buy it on all physical formats below:-

You can also buy physical copies directly from Relapse Records here - https://www.relapse.com/collections/new-releases

Amenra - https://www.facebook.com/churchofra

Relapse Records - https://www.facebook.com/RelapseRecords

Down The Rabbit Hole #1: Floscule (Ukrainian Black Metal)

Earlier this year I reflected on where to take this blog. Reviewing music has been my bread and butter for a long time now but I feel it has taken away from why I started this blog in the first place. It was a tool to discover new bands and explore far-flung music scenes, thanks in large to the Internet. I'm constantly discovering new bands and releases but I feel that (through time and the burden of pressure I've put on myself), I haven't been able to appreciate and immerse myself in the way I should have.

I have decided that now is the time to change that, subtly. Picking a starting point has been hard but I have finally found one. On this sticky summer evening in the UK, I bring you an introduction to Ukrainian black metal band Floscule. Members play or have previously played in bands including White Ward, Silvern and Waidelotte amongst many others.

Floscule formed in the Mykolaiv Oblast region of Ukraine in 2022 (according to Metal Archives). They consist of guitarist Serhii Kovalenko, bassist Anton Pelyanskii, Drummer Petro Buday, as well as vocalists Andrii Pechatkin and Vitalii Chelovenko. This line-up was responsible for creating and releasing their debut album Ї in 2024 via the very well-respected German label Vendetta Records.

Forming a band at a time of such turmoil for a country must have been tough but there’s a steadfast resilience that Ukranian bands embody. The cover-art of their debut album highlights only too well the plight that they have been through and continue to face at the hands of a deranged foreign dictator. 

If you’re wondering what they sound like, I’ll try and summarise as best I can. They’re a mix of more traditional crust/black metal and modern melodic/groovy black metal, without venturing into the realms of blackgaze. If you’re not one for the raw, icy black metal championed by Scandinavia, this will be a good half-way house for you.

Alongside wanting to share Floscule with you, I also wanted to use this post to help share emerging online music platform Ampwall. With Spotify becoming somewhat of a cesspit when it comes to supporting emerging bands/artists and Bandcamp upsetting it’s artist base by changing it’s payment methods, Ampwall offers bands/artists a way to grow organically while offering fans a genuine mechanism in which to support them.

You can stream and purchase Ї digitally via Floscule's Ampwall profile here - 

Floscule Linktree - https://linktr.ee/floscule_band

Obnoxious Concoction - Obnoxious Concoction

Labels: Dry Cough Records

Formats:Tape/Digital

Release Date: 21 Feb 2025

Tracklist:

1. Painkiller's Steel Chariot

2. The Vampire

3. Dredd Avenging Battalions of 2025 AD

4. Orkish Apotheosis

5. Rangifer Tarandus Disembowelment

6. Carboniferous Copacabana

7. Rage of Augment

It's almost August, like how has that happened! Time bloody flies and bands pop up overnight. Leeds-based death metal band Obnoxious Concoction released their debut self-titled EP in February via Dry Cough Records on full-body printed tapes (yes, I know I'm very late with this review). The quartet features members from Mortuary Spawn, Tormented Imp, Gorgon Vomit and Nepalese death metallers Animality.

This EP is a fast one, so if you haven’t already heard it, prepare yourselves. Opening with ‘Painkiller’s Steel Chariot’, the riffs are the first to hit you as they pave the way for blasting yet technical death-grind and properly ferocious vocals. This is insane from every angle already. ’The Vampire’ flails with subtle thrash metal tendencies, but stomping death metal isn’t far away. It fills the mid-section before the pace goes all the way up. 

Not being too serious is a good trait for any extreme metal band, which usually manifests itself in song-titles. ‘Dredd Avenging Battalions of 2025 AD’ is a fine example as Obnoxious Concoction mix their finest ingredients to produce a blistering recipe of extremity. ‘Orkish Apotheosis’ is both the EP’s mid-way point and also it’s shortest song, picking up where the previous song left off. Much more grind-heavy thanks to the percussion (maybe a hint of powerviolence in there too), while the guitars/vocals add so much heft and vibrancy (if that’s the right descriptor).

I had no idea but apparently Rangifer Tarandus is the scientific name from Reindeer or Caribou. I had to look it up because of ‘Rangifer Tarandus Disembowelment’, which follows. I’m guessing that Obnoxious Concoction don’t approve of animal cruelty so the song-title probably refers to somebody being disembowelled by a Reindeer. As violent an image as that is, it pretty much matches the tone of the song. You’ll understand why when you hear it (if you haven’t already!). I’ve also gotta call out the sick guitar soloing towards the end.

Moving onto the EP’s penultimate song and only example of alliteration ‘Carboniferous Copacabana’; after an initial bar or two of old-school death metal riffs, Obnoxious Concoction explode once again into technical, uptempo grinding death, complete with added grooves. Without any pause at all, you’re slung headfirst into final song ‘Rage of Augment’. It’s the cherry on top of what is a ridiculously good EP from another brilliant UK band.

Obnoxious Concoction seem to have already found a formula that sounds pretty much complete, which is no surprise really given their collective experience. You’ve got another reason to deep dive into UK death metal now.

You can stream the EP digitally and grab it as a name-your-price download from Obnoxious Concoction below:-

I picked up a tape copy as soon as it went on sale; however, 1 copy remains for sale via Dry Cough's bandcamp page here - https://drycough.bandcamp.com/album/obnoxious-concoction. Sell this MF out!

Obnoxious Concoction Instagram - @obnoxiousconcoction

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

Clay Birds - a separation from vanity

Labels: Zegema Beach Records

Formats: Tape/Digital

Release Date: 10 May 2025

Tracklist:

1. an intuition of morality

2. to my dearly departed

3. to sell our fire would be the ultimate defeat

4. infinite regress

5. everything, everything

California's coming in hot when it comes to screamo at the moment and trust Zegema Beach Records to have their fingers on the pulse. In May they released the newest EP a separation from vanity by Cali quartet Clay Birds on 100 tapes. Clay Birds have only been releasing music for a relatively short time, having released a demo, a split and a single in 2023, before following them in 2024 with their debut album Bled Out and Painted Blue. Also, if you're wondering why the EP title above reads differently to the title on ZBR's site; it was taken from the band's bandcamp/discogs pages and I can't confirm the correct title.

This EP sees Clay Birds making gorgeous emo/post-hardcore in the nostalgic way on opener ‘an intuition of morality’. There’s raw emotion, glorious clean singing, explosive heaviness and twinkling melodies flowing right the way through it. Opposite ends of the musical palette colliding in unison. The beautiful musicianship grows in majesty on ‘to my dearly departed’, where it’s joined again by clean singing that’s a cross between slow-core/indiemo, before bursts of both deep and higher-pitched screams add a sense of unease. 

From what seems like a fairly lengthy song, Clay Birds deliver something more visceral and urgent on ‘to sell our fire would be the ultimate defeat’. Driving and down-beat elements of screamo/hardcore are interwoven with the quartet’s beguiling melodic layers. ’Infinite regress’ is another shorter number and it reminds of music by bands like American Football and The World Is A Beautiful Place & I Am No Longer Afraid To Die at first. Slightly off-kilter yet gentle emo leads you into a false-sense of security (kind of) before a raucous mid-section comes in, fades and leaves you with a crescendo-like ending.

It’s the perfect way to usher in EP closer ‘everything, everything’, with punky rhythms that pep up the mood and self-introspection aplenty. It’s by far the artiest song on a separation from vanity too. Though I’ve tried my best to describe this release in words, I don’t think mere words can do it justice. You can only really take it in by listening and appreciating.

You can stream and purchase the EP digitally from Clay Birds here:-

ZBR tapes copies have sold out.

Clay Birds Instagram - @claybirdsband

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

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