Blue Youth - Defeatist

Labels: Grind Central Records/The Ghost Is Clear Records/Zegema Beach Records

Formats: Vinyl/Digital

Release Date: 15 Apr 2025

Tracklist:

1. Defeatist

2. T.K.Y.I.T.H.Y

3. Patient Patient

4. Lost, Spinning In Time

5. Modern Lover

6. Hell Is Empty

7. Redacted

8. JLB

9. Two Faces

10. These Hands

Canadian noise-rock/post-hardcore/punk band Blue Youth released their newest album Defeatist last month. It comes almost seven years on from their previous album Dead Forever. We're honestly being truly spoiled this year with new releases, including from bands that seemed forever dormant. I could others that I'm excited about but I don't want to draw attention away from this album. I'm hoping that the trio's sound still features the catchy rock/noise-rock sensibilities of previous releases.

I’m writing this in a very sleep-deprived state. My sleep pattern has been all over the place for the past few days and I swear (to whatever non-religious, free-thinking idol) that my neighbours aren’t helping by slamming every door they have at lest twice it seems. I’m just venting though and it’s distracting me from another banger of an album. Seeing both the album/song title ‘Defeatist’ instantly makes me think of Hatebreed, but that’s just weird brain stuff as Blue Youth are a world away sound and attitude-wise. 

Yes, they’re heavy but in a discordant/noisy way, as opposed to a youth crew/tough guy hardcore way (if you get what I mean). ‘Defeatist’ is a slow burner to start, with a mix of semi-clean vox/harsh screams, off-kilter instrumentation and odd melodic/dissonant guitar/bass. I say odd because I don’t really know how else to describe it. As openers go it definitely grabs the attention.

’T.K.Y.I.T.H.Y.’ sees Blue Youth heading in the opposite direction and delivering some excellent and genuine noise-rock that conjures up a whole mix of different bands, whom I’ve probably compared them to in previous reviews. I’m thinking of the likes of The Hives, The Bronx, Refused and also Franz Ferdinand (for their melody not their penchant for indie/post-punk). Comparing bands to other bands isn’t going to win me any awards I know, as it’s all subjective.

There’s a certain guitar sound that really hits the spot during ‘Patient Patient’ and I’m not sure why it does. Maybe it’s because I’ve spent too long in my late teens/early 20’s listening to some of Blue Youth’s compatriots. This song does sound way more rooted in post-hardcore and could even be a slight nod to nu-metal of old, maybe?. Sorry, the nu-metal reference was meant in the best way as this song it genuinely killer!

Damn, I might have to trim this review back a bit as I’m already four paragraphs deep and only three songs in! ‘Lost, Spinning In Time’ is a quick one though, with minimalist guitar, bass and drums meaning that it acts as a kind of instrumental/interlude leading into ‘Modern Lover’, which uses more noise elements alongside it’s danceable rock. If ever there was a song that highlighted Blue Youth’s breadth of song-writing delivery; this is it.

Another instrumental song is ‘Hell Is Empty’, which has a subtle hint of groove and (almost) stoner too it. Again it’s a short one but it’s filled with psych, which spills over into ‘Redacted’. Blue Youth occasionally turn towards weirder riffs on Defeatist and that’s no bad thing at all, especially when standing up alongside their noisier post-hardcore. Everything just fits together perfectly.

‘JLB’ gives off ambient, slightly unnerving vibes as it ushers in the closing section of the album. It’s gentle guitar fades and gives way to ‘Two Faces’ with an instantly more jarring demeanour. Blue Youth once again find their true loud pedal. Exactly on the money at three minutes, it’s a mainstream radio station’s/record label’s dream. Secretly, I hope they don’t get sucked up into that vacuum (though they deserve any and all success that comes their way!).

Album closer ‘These Hands’ sounds like a Brit-rock/pop song at times, but only as it kicks off (and probably only in my head!) as it’s a lot harder and heavier later on. It carries on in that heavier vein for a bit before dropping into a slightly introspective mid-section that then builds in layers again, getting louder right up to the inevitable end. 

As I reflect on listening to this album in it’s entirety, I have no regrets about the eight paragraphs above. Blue Youth have come back with an album that’s beyond excellent and beyond expectation. If that’s not worth talking about then I give up.

You can stream and purchase Defeatist digitally from Blue Youth below:-

The Grind Central Records website doesn't seem to be working properly currently, but you can grab physical copies of the album from the labels below:-

The Ghost Is Clear Records - https://theghostisclearrecords.limitedrun.com/products/866551-blue-youth-defeatist

Zegema Beach Records CAN/INTL - http://www.zegemabeachrecords.com/zegema-beach-releases/defeatist / USA - https://zbrusa.com/collections/zbr-releases/products/defeatist

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

Grind Central Records - https://www.facebook.com/grindcentralrecords

The Ghost Is Clear Records - https://www.facebook.com/TGICRECS

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

Dead Hour Noise - Slow Burn

Labels: The Ghost Is Clear Records/Zegema Beach Records

Formats: Vinyl/Digital

Release Date: 07 March 2025

Tracklist:

1. Mourning Doves

2. Pinioned

3. Slow Burn

4. Voices

5. Arson

6. Solstice

7. Closed Sicilian

8. Barren

9. Fools Gold

10. Supersonic

11. The Things We Say

It would be wrong of me to ignore that March was a barren month (post-wise anyway). I felt a shift in my motivation to write, which might sound odd given that last month was actually the strongest month  the blog's had for a long time (viewer-wise). I am slightly dubious about those numbers though, as engagement has been way down but I have a plan of sorts. That plan starts tonight with one of the newest releases to come from US label The Ghost Is Clear Records and US/CAN label Zegema Beach Records. 

Dead House Noise reside in Michigan, USA and Slow Burn is their fourth full-length. They're now into their 12th year as a band and their ZBR connection goes back to the 2020 Tomb Tree tape release of their album Sleeping Dogs, which was followed just over a year later by the tape release of their split with Deeper Graves, also via Tomb Tree.

I’m waiting on several record orders and I’m secretly hoping they all drop at once (that’d be so exciting!). One record has arrived that I’ll be writing about next and which, I’ll be keeping a secret for now. I want to try to kick off April with a bit of a flourish so I’m turning to the newest album from US band Dead Hour Noise. Released via two of the sickest and most prolific North American/Canadian labels in existence today, I don’t want to wait any longer.

DHN mixes everything from emo/powerviolence with hardcore, sludge and everything in between to create a collage of sound that’s quite frankly the auditory equivalent of every vice you can think of. Opening with ‘Mourning Doves’ proves exactly that, as the crushingly fast early bars give way to mathcore laden screamo and groovy sludge n roll (at least that’s what I’m calling it). Imagine Every Time I Die, Refused, Crowbar and Frontierer joining forces and you wouldn’t be too far off.

Comparisons aside, it’s hard to explain how energised I feel listening to this. I’m guilty of sleeping on bands and I always regret it. The insane intensity of ‘Pinioned’ once again conjures that feeling of guilt (or FOMO) as DHN launch into a frantic blast of grinding yet groovy hardcore/metal. I don’t want to label them as one thing or the other and as the heart rate drops with the help of guitar-led ambience, resting is no option.

The album’s title-track ‘Slow Burn’ is anything but. Panic chords and crazed percussion combine with passionate harsh vocals (and floor-splitting breakdowns) to throw you right off the scent. I’d hate to be my neighbours right now as the throat-ruining screams of ‘Voices’ kick in. While there are elements of the sassiness of SeeYouSpaceCowboy in places, DHN really just do their own thing and do it well. It’s crazy when you realise that there’s just the three of them.

‘Arson’ starts with more ominous guitar ambiance that leads to off-kilter, slamming heaviness but with more obvious melody too. DHN know how to write a heavy song that ultimately sounds way more than that. ‘Arson’ is filled with constantly shifting patterns that change your perception of their music, in a good way.  Talking of shifting things, the riffs that open ‘Solstice’ are amongst the wildest on Slow Burn so far. The vocals take on a slight black metal form, while the drums blast like there’s no tomorrow early on. After about ninety-seconds, the pace drops to reveal a slower tempo, dialled-back guitar and prominent bass jabs. 

It may be a ruse but it works as things start to pivot back in a more chaotic direction a few bars later. This is the album’s longest song so DHN are forgiven for changing things up a bit. The latter half of ‘Solstice’’ is mostly calmer and more introspective with swathes of keys swirling around at times. From a sense of near tranquility, ‘Closed Sicilian’ rips through the serenity in belligerent fashion. The instrumental sections are filled with mind-bending time signatures and when the vocals are present, there’s a heavy noise-rock vibe going on. 

Sloth-like, sludgy tones greet you on ‘Barren’, which is most definitely a song of two halves. The former is slower in tempo while the latter is a proper mixed bag, though it does finish as it started. The feedback that closes ‘Barren’ flows straight into ‘Fools Gold’ and it’s stupidly intense percussion, where said intensity is pretty much maintained throughout, even when the pace does slow. It’s a lesson in how a band can sound heavy in all forms.

Being at penultimate song ’Supersonic’ already seems insane. What does not though is the danceable nature of the song and it’s many elements (especially those riffs). There’s mathcore mixed with noise-rock mixed with powerviolence and sludge. A proper mix made in heaven. Closing with ‘The Things We Say’, Dead Hour Noise provide you with one last gasp of air before they cut off what’s left. 

Slow Burn is frenetic and fantastic, from beginning to end. I’m planning on getting a customised iPod with expanded memory in the near future (because I can no longer stand the anti-music stance that Spotify is taking and I miss my old iPod Classic as well). When I do, this album will be the first one I put on it. I’ve slept on Dead Hour Noise for too long. They’re excellent!

You can stream and purchase Slow Burn digitally from Dead Hour Noise below:-

Dead Hour Noise - https://www.facebook.com/deadhournoise/

Physical vinyl copies are available to buy from the labels below:-

The Ghost Is Clear Records - https://theghostisclearrecords.limitedrun.com/products/865169-dead-hour-noise-slow-burn-12

Zegema Beach Records CAN/INTL - http://www.zegemabeachrecords.com/zegema-beach-releases/dhn / USA - https://zbrusa.com/collections/zbr-releases/products/dhn

The Ghost Is Clear Records - https://www.facebook.com/TGICRECS

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

Big Water - Drink More Water

Labels: Lydia House/Self-Released/The Ghost Is Clear Records/Zegema Beach Records

Formats: CDr/Tape/Digital

Release Date: 14 Dec 2018

Tracklist:

1. B.M.

2. My Name Is Chappie Johnson And I Can't Open This Damn Pickle Jar

3. Typical Porn

4. Highest Number Is 24

5. Half-Eatin' Sandwich

6. Drunk Punch Love

Back in 2018 I was lucky enough to be able to premiere the song 'Typical Porn' from the debut EP by Kansas City, US screamo/hardcore band Big Water. My biggest failing at the time though was not reviewing the full EP. I'm (sort of) righting that wrong this evening as I pick my ZBR roster review series back up again. Drink More Water was self-released by Big Water on tape and digitally in November 2018 (according to Discogs), before both The Ghost Is Clear Records and Zegema Beach Records released their own limited tape run a month later. There was also a CDr run made by Lydia House (again according to Discogs) but quantity and release date are unknown.

It’s weird how the less-is-more approach (to writing and posting) seems to be working. I always used to have the energy to write about a new release every evening, but things change and I’m still trying to re-find that same energy. Short sharp releases help and Drink More Water is definitely one of those. Opener ‘B.M.’ greets you with a sample from the TV comedy series Curb Your Enthusiasm (I think? Please correct me if I’m wrong). It’s a short intro that leads into Big Water’s take on heavy yet groovy screamo/emo-violence with some added hardcore thrown in. ‘My Name Is Chappie Johnson And I Can’t Open This Damn Pickle Jar’ gives off total mathcore vibes initially. Maybe that’s due to quick shift from sound bite to harsh screamo, with plenty of off-kilter tempos and unexpected rhythmic fluency thrown in to the mix.

By the time you reach ‘Typical Porn’ you realise that while it seems like Big Water don’t take things too seriously, their music and it’s delivery is very much serious business. It’s shorter than the average song (apparently the average length of a “pop” song in three minutes and thirty seconds). Thankfully though, this isn’t an average pop song and I’m now going to wash my mouth out for suggesting it was even close. I get the impression that perhaps my neighbour above might be annoyed with the volume I’m playing this EP at or maybe even the volume of my typing, which I also get abuse for in my day job. ‘The Highest Number Is 24” is as furious as Big Water get. The enjoyment factor is massive here!.

‘Half-Eatin’ Sandwich’ has some bizarre nu-metal influences going on amongst the guitars (at least my ears anyway). It’s over before it’s really begun, in part due to the gung-ho fashion is which Big Water do things. There’s no point in dawdling anyway right?. EP closer ‘Drunk Punch Love’ is the longest song here and it exhibits a leaning towards exciting noise-rock for sure. Filled with angular instrumentation, the vocals are either used sparingly or huddled deep in the mix. It’s hard to pinpoint musical influences but it nods towards AmRep more than it does to Ape Must Not Kill Ape, if you get what I mean.

In the throwaway culture we live in now, debut demos and EPs tend to be overlooked by people who don’t dare to dig below the surface. If you’ve read this review and/or are familiar with Big Water, you’re not one of those people. Thank you, for you have chosen wisely as this EP is fantastic.

You can stream and purchase Drink More Water digitally from Big Water below, where it's also available on tape too:-

Zegema Beach Records still have copies of the tape available in their US store here too - https://zbrusa.com/collections/zbr-releases/products/big-water-drink-more-water-cassette

Big Water - @bigwaterkc Instagram

The Ghost Is Clear Records - https://www.facebook.com/TGICRECS

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

LLEWELYN - Disposable Culture

Labels: Tomb Tree/The Ghost Is Clear Records

Formats: Tape/CD/Digital

Release Date: 10 Nov 2023

Tracklist:

1. Heliophobia

2. Sway

3. Disposable Culture

4. Dorian Gray

5. Ritual

I'm doing that thing again where I write about a band of which I know nothing about. I mean, a lot of people reading this may not know about LLEWELYN as they're a newly formed band. When I saw their music being compared to Transistor Transistor, Chat Pile etc, I took notice. Their debut EP Disposable Culture was released last month on tape through Tomb Tree and on cd through The Ghost Is Clear Records. LLEWELYN features members from US bands Forever Losing Sleep and Moaded to name a few (thanks OPENmind/SATURATEDbrain).

I really don’t want to set foot outside today as it’s -5 degrees, but I have to. Until then though, I’m going to devour something new and LLEWELYN makes for the perfect weekend wake-up call with their melodic yet furious brand of noise-rock. Opener ‘Heliophobia’ is that peculiar mix of sludge/AmRep noise and structured post-hardcore. Blasting drums coupled with raspy screams, while classy guitar work provides melody underneath.

It gets more mathy on the cleverly named ‘Sway’, which is really hard to compare to anything else. It’s off-kilter and sassy but there’s also a menacing heaviness to it. Moments of psych and ringing feedback add to the aural chaos as well. The EP’s title-track ‘Disposable Culture’ comes at you from a punkier direction thanks to the addition of gang-vocals and a higher tempo. 

‘Dorian Gray’ is that kind of excitement-inducing song that usually comes before then end of a release, in that it’s calmer in style and tone to begin with, and while it does get louder/heavier later on, it remains more subdued. I like it’s poppier edge, which draws you into EP closer ‘Ritual’. At this point it’s best just to sit back and appreciate the music here. ‘Ritual’ isn’t a fast song, in fact the slower/noisier approach is better and it’ll keep you coming back to this release.

2023 is still producing some absolute bangers (even though I’m behind on a lot of stuff). The consistency of bands and labels has been insane and it’s not over yet. LLEWELYN have started strong with this EP. Let’s hope they reach more ears because this was great.

You can stream and purchase the EP digitally from bandcamp below, where it's also available to grab on tape from Tomb Tree:-

CD copies can be purchased from The Ghost Is Clear Records below too:-

http://theghostisclearrecords.limitedrun.com/products/llewelyn-disposable-culture-cdep

Tomb Tree - https://www.facebook.com/tombtreetapes

The Ghost Is Clear Records - https://www.facebook.com/TGICRECS

Worst Gift - Shitty Loser Riffs

Labels: Bart Records/Good Post Day Records/L'Oeil Du Tigre/The Ghost Is Clear Records/Titan Mega Corporation/Zegema Beach Records

Formats: Vinyl/Tape/Digital

Release Date: 19 Jan 2016

Tracklist:

1. Immoral Inventory (Or Life As We Blow It)

2. Meowing As A Contribution

3. Waking Up Bummed Out After A Sweet Jetpack Dream

4. C.H.U.Dgment Day

I'm taking a break from feature planning (I'm expanding my repertoire thanks in part, to a band that's actually taken the time to answer some interview questions!). The first feature is coming on Friday and more will follow. Before then, I thought I'd fit in a review or two to keep things going, as I'm still way behind where I was at this time last year numbers wise. 

This one is another in my ongoing Zegema Beach Records roster review series and it features Canadian band Worst Gift, and their 2015/16 EP Shitty Loser Riffs. The release date above relates to when ZBR helped with a vinyl pressing, but it was self-released digitally by the band back in May 2015, before a tape release via Bart Records and that vinyl pressing from all of the other labels mentioned above. Aside from this EP, Worst Gift released their first EP Yard Meat in 2014 and then their only album World's Worst in 2017, before disappearing.

Worst Gift describe themselves as ‘Dave Mustaine-Ish’ on their bandcamp page and I’m not really sure how to take that. I don’t think they (are or) were the sort of people who fell out with every member they inducted into the band and their music doesn’t sound heavy metal-like on EP opener ‘Immoral Inventory (Life As We Blow It)’. It’s of the emo/screamo variety with a leaning towards lengthier songs, which are filled with melodic/jangly guitars, more than decent low-end/percussion and multi vocal layers that are shouty. 

The amusingly titled ‘Meowing As A Contribution’ is a strangely soothing post-hardcore song that makes use of cleaner vocals and garage/art-punk influences. It’s not upbeat in a happy sense, with Worst Gift choosing instead to go down a darker root, much like that of post-punk bands. That may seem at odds with how I initially described it, but as it gets progressively louder and more chaotic, there seems to be no room for happy sentiment.

The pace is switched up on ‘Waking Up Bummed Out After A Sweet Jetpack Dream’ as Worst Gift goes even more off-kilter. There’s a lot more punk to this band than immediately meets the eye and it’s on show here. They’re equally suited to the slower, moodier sound and the faster, rhythmic one too. That’s a hard thing to pull off, as it can get lost in the transition sometimes.

EP closer ‘C.H.U.Dgment Day’ (brilliant title!) is one final long-player at nearly eight minutes long but it doesn’t mope around at all. Instead they lavish upon the listener one final instalment of glistening punk/post-hardcore that shows how much they love playing music, while living every moment of it. Music is something that should be constantly discovered no matter how old it is. That’s kind of what this review series is all about and Worst Gift could be the best gift you’ve never had. Jump in!

You can stream and purchase the EP digitally as well as on vinyl directly form Worst Gift below:-

Worst Gift - https://www.facebook.com/worstgiftever

You can also grab physical copies from the labels below:-

Bart Records - https://revolutionwinter.storenvy.com/

The Ghost Is Clear Records - http://theghostisclearrecords.limitedrun.com/

Zegema Beach Records - CAN/INTL - http://www.zegemabeachrecords.com/ / USA - https://zbrusa.com/

Bart Records - https://www.facebook.com/Bart-Records-Revolution-Winter

Good Post Day Records - https://www.facebook.com/goodpostdayrecords

The Ghost Is Clear Records - https://www.facebook.com/TGICRECS

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

Meditations In Affinity #2 (Cultivation) - Nerver/...And It's Name Was Epyon/People's Temple Project/Apostles Of Eris

Labels: Akashita Corp/The Ghost Is Clear Records/Zegema Beach Records

Formats: Vinyl/Digital

Release Date: 15 May 2019(Digital)/TBA (Vinyl)

Tracklist:

1. Nerver - General Erosion Of Morale

2. ...And Its Name Was Epyon - Side Seven

3. People's Temple Project - 2:16

4. Apostles Of Eris - The Kobodera

This week has been a bit of a write-off, which sucks. This review has been in the works for a little while as well. It's the second four-way split 7" to come from The Ghost Is Clear Records and Zegema Beach Records, as well as Akashita Corp on this occasion. It's features US post-hardcore/screamo bands Nerver, ...And It's Name Way Epyon, People's Temple Project and Apostles Of Eris. There's more to come from this 7" series so keep your eyes peeled.

Splits like this have become a great resource for discovering new bands and you can’t get any newer than Nerver, as they’ve only really surfaced over the last few months. General Erosion Of Morale is a heavy slab of post-hardcore that seems to end far sooner than it should. Such a good song though, with heavy riffs, intense percussion and hoarse vox. …And Its Name Was Epyon is a different proposition with Side Seven. There are comparisons you could draw to this band, as their melodic and spoken-word vocals are familiar, though their heavier side is utterly brilliant and compliments their sound perfectly,

Naming your song after it’s length if pretty clever (I think so anyway) and People’s Temple Project does just that on 2:16, which is an angular and experimental piece of screamo. It’s pretty violent but also awesomely musical. It doesn’t last very long but that’s fine, as all of the best things are over before you realise. Apostles Of Eris is at least a familiar name to me and their song The Kobodera is as twinkly as it is intense. Melodic riffs go hand-in-hand with emo-violence and the song ends with a mix of both lo-fi and full-throttle screamo. 

These splits have turned out great so far. Their theme is perfect with each band has their own story to tell and their own take on things, I’ll try and get the other three reviewed as and when they’re released.

Stream the split below, where it's also available to grab digitally:-

Nerver - https://www.facebook.com/nervererver/

...And Its Name Was Epyon - https://www.facebook.com/anditsnamewasepyon/

People's Temple Project - https://www.facebook.com/PeoplesTempleProject/

Apostles Of Eris - https://www.facebook.com/thegoddessprevails/

Physical copies can be pre-ordered below:-

Zegema Beach Records US Store - http://zegemabeachrecords.storenvy.com/

Zegema Beach Records CAN/Intl Store - http://www.zegemabeachrecords.com/zegema-beach-releases

Akashita Corp - https://www.facebook.com/AkashitaCorp/

The Ghost Is Clear Records - https://www.facebook.com/TGICRECS/

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

Meditations In Affinity Vol.1 (Bond): Life In Vacuum/Canyons/Crowning/Hundreds Of Au - 4-Way Split 7"

Labels: The Ghost Is Clear Records/Zegema Beach Records

Formats: Vinyl/Digital

Release Date: 10 May 2019

Tracklist:

1. Life In Vacuum - Nine To Five

2. Canyons - Storing Light

3. Crowning - Visceral Ghosts

4. Hundreds Of Au - Out In The Streets/Elevator Music

I've spent an hour or so this morning just taking stock of what I've been sent to review recently and trying to do some organising of my schedule for the coming weeks. I didn't quite appreciate how good releases have been over the last few months. I've still got catching up to do but that's a constant. 

As the seasons here become more autumnal it's post-hardcore that I feel myself reaching for and so to kick off this Sunday, here's the first split 7" (sub-titled - Bond) from a series called "Meditations In Affinity". The series will feature five four-way split 7"s featuring twenty bands and is a collaboration between The Ghost Is Clear Records and Zegema Beach Records. Each band contributes one song and here they are Life In Vacuum (Can), Canyons (USA), Crowning (USA) and Hundreds Of Au (USA).

Life In Vacuum’s contribution Nine To Five seems to be influenced by UK Indie/Brit Pop to start with, as it’s angular riffs and clean vocals lead the way before the trio explodes into the more usual post-hardcore sounds. It’s more accessible due to the varied musical application that the trio exhibits. Really creative punk. Canyons are equally as angular and off-kilter on Storing Light, but the sense of foreboding that’s enveloped within their mid-paced post-hardcore is palpable. More bass-heavy and containing harsh vocals from the get-go, there’s no light that shines through.

Crowning’s Visceral Ghosts is the closest you’re going to get to the sassy-grind/emoviolence sound on this split. It threatens to explode in a fireball of technical instrumentation and crazy tempos, but the band holds-off from that and instead creates a hardcore song that’s as mesmeric as it is unnerving. The split’s closer is reserved for Hundreds Of Au and Out In The Streets/Elevator Music is a combination of typical heaviness and cinematic post-rock, held together by solid instrumentation and caustic vox. The way they transition from Out In The Streets to Elevator Music leaves no time for a pause and their raging final bars make for a fitting end to this release.

This split series is a fantastic way for people to discover bands that they otherwise would not have. I appreciate that all of the participants have probably already been confirmed for this series but it got me thinking; being based in the UK, I’ve always felt that native post-hardcore/screamo bands have been under-represented on releases like this. It would be great to join together with a label (or labels) to seek out a new band or two from the UK for a release. This is a spark of an idea, so write to me if you think it could be a grower. 

You can stream "Meditations In Affinity Vol.1" and purchase it digitally below:-

Life In Vacuum - https://www.facebook.com/lifeinvacuum/

Canyons - https://www.facebook.com/canyonsband/

Crowning - https://www.facebook.com/crowningband/

Hundreds Of Au - https://www.facebook.com/hundredsofau/

Physical copies can be purchased from the labels below:-

The Ghost Is Clear Records - http://theghostisclearrecords.limitedrun.com/categories/tgic-release

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

The Ghost Is Clear Records - https://www.facebook.com/TGICRECS/

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

Seventeen Again - Invoke

Labels: Black Lake Records/The Ghost Is Clear Records/Zegema Beach Records

Formats: Vinyl/Digital

Release Date: 15 Feb 2014 (Digital)/14 Jun 2014 (Vinyl)

Tracklist:

1. Between The Lines

2. Around The Edges

3. Trevelyn

4. When In Rome

5. When In Hell

6. Cure Light Wounds

7. Billy Yank

8. Johnny Reb

9. Soak Up The Sun

It's been a while since I've done one of these reviews (and a little less of a while since I've done a review full stop). I'm getting back on the Zegema Beach Records roster horse and focusing this review on the only album to come from Michigan (USA) punk/hardcore band Seventeen Again. It was released by Black Lake Records (UK), The Ghost Is Clear Records (USA) and Zegema Beach Records (Canada) back in 2014 on vinyl, as well as digitally by the labels and by Seventeen Again themselves. They're no longer a functioning band but their members play in other bands.

Frustration doesn’t even come close to describing how this month has gone so far. I’ve not written anywhere near as much as I would have liked, though I really need to stop putting too much pressure on myself in that department. Some fast hardcore/punk and green tea should help be get over that though, at least for a time. This is fast hardcore and opening song Between The Lines barely lasts over a minute. It’s angular hardcore with off-kilter percussion and near-hysterical screams, so if you were wanting chuggy tough-guy stuff, look elsewhere. 

Seventeen Again is definitely more false-grind/emo-violence in posture than the hardcore tag would suggest and Around The Edges is abrasive and emotive in equal measure. The music’s also incredibly bass-heavy and it’s more obvious on Trevelyn, as the low-rumble accentuates the low vocal growls. Things get weird on When In Rome, which is slower in tempo but also more experimental. It stops on a dime and gives way to When In Hell, which is a really apt follow-up (let’s face it, most big cities are hell). It has a rock vibe to it though and also minimalist in approach and structure at points. 

You’re past the mid-way point when Cure Light Wounds comes into view and it’s another rager, with no time for breath or soft soothing tones. The second half of “Invoke” is also where Seventeen Again spread their musical wings a little, by writing and playing longer songs like Billy Yank. From the lengthy to the blink-and-you’ll-miss-it as penultimate song Johnny Reb’s moody overtones fly by in less than sixty-seconds and lead you to album closer Soak Up The Sun, which is anything but sunny in disposition. There is melody in it though, but like the rest of “invoke”, it’s subtle and surrounded by dissonance. 

So what if this is album is a few years old by now and Seventeen Again isn’t active, “Invoke” is still a lot of fun to listen to and escape everyday life with. Though I’m not sure I’d actually want to be seventeen again!

You can grab "Invoke" as a free-download from Seventeen Again's bandcamp page below:-

Seventeen Again - https://www.facebook.com/seventeenagainmi

You can still get vinyl copies from the labels below:-

Black Lake Records - http://blacklakerecords.bigcartel.com

The Ghost Is Clear Records - https://theghostisclearrecords.limitedrun.com

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

Black Lake Records - https://www.facebook.com/blacklakerecords

The Ghost Is Clear Records - https://www.facebook.com/TGICRECS

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

Cassilis - Quitting

Labels: Zegema Beach Records/Square Of Opposition Records/The Ghost Is Clear Records/Black Lake Records

Formats: Vinyl/Digital

Release Date: 24 Apr 2014

Tracklist:

1. American 90s

2. Rat Pack

3. Boat Owners

4. Bloom Brigade

5. Softie

6. Sad Products

7. Jaw Session

8. Bone Sled

9. God Hair

10. King Jake

11. Groan Sleeve

Needed to get back on it so here's the newest review in my Zegema Beach Records roster series. This one goes back to 2014, when Philadelphia (PA, USA) quartet Cassilis released their second full-length "Quitting". It was released on single-sided vinyl with a screenpinted b-side, limited to 500 copies at the time of release. It contains 11 tracks filled with heavy hardcore/punk. Given that most of the bands that I've written about in this series so far are no longer releasing stuff, it's good to know that Cassilis are still active.

I’m going to be reviewing more punk and emo music this week, so this may be a bit noisy to start with but it still fits the theme. American 90s is a hell of an opener. Full of intense post-hardcore riffs that stay on the right side of being tough-guy and a dark atmosphere that’s helped by the huge drum sound and caustic vocals. There’s plenty of feedback too. The opener is a slight anomaly on ”Quitting” as Cassilis is actually pretty off-kilter and technical, as demonstrated on Rat Pack. They’re not afraid to keep things short, like on Boat Owners, which lasts just shy of sixty-seconds and is held together with genuine emotion and anger.

It’s all fairly mid-paced, which is a little surprise but that’s not to it’s detriment at all. Bloom Brigade seems to just get louder and louder, especially in the vocal department. They don’t dominate the recording by any means but when they are in full flow, the musical textures are hidden somewhat. Softie comes and goes with more hardcore attitude and power, while the rumbling, feedback-ridden noise of Sad Products is not an easy listen, even if it is an instrumental. It’s a barrage that will rattle your teeth when turned up. It acts as a precursor to the metallic madness that is Jaw Session. It reminds me of something that Snapcase would have written for “Bright Flashes”, although this is more technical to these ears.

Their rhythmic prowess shines through on Bone Sled, thanks to a great percussive performance. It’s part of something that’s hard to describe, as it’s a song that features elements from different styles of heavy music but also funk and even some metal (if I’m hearing it right). God Hair sounds like a hellish take on a Spaghetti Western theme song to start with, especially in the guitars but it descends into something all the more chaotic later on. It’s great! Following more twisting feedback, penultimate song King Jake hammers home the point with more loud and raucous punk. Cassilis waits until the end to perform their longest song on “Quitting” and it’s no surprise that the build-up to Groan Sleeve is harrowing and ringing with different pitches. It’s got the rock n roll swagger about it and the shouty attitude that means that you can’t play it too loud when there’s people living above and below you (like in my abode).

This record is over as quickly as it started. Cassilis makes a serious racket but that’s a good thing. Punk and post-hardcore continue to undergo shifts in their styles and bands continue to experiment. This album, given that it’s over four years old now, is just one example of that. Great noisy stuff. They have new songs up on their Bandcamp, so hopefully a full release will follow.

You can stream and purchase "Quitting" directly from Cassilis below:-

Cassilis - https://www.facebook.com/cassilis/

There are still copies of this record for sale out in the wild. Visit the links below:-

Zegema Beach Records - http://www.zegemabeachrecords.com/

Square Of Opposition Records - https://squareofopposition.limitedrun.com/

The Ghost Is Clear Records - http://theghostisclearrecords.limitedrun.com/

Black Lake Records - http://blacklakerecords.bigcartel.com/

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

Square Of Opposition Records - https://www.facebook.com/squareofopposition/

The Ghost Is Clear Records - https://www.facebook.com/TGICRECS/

Black Lake Records - https://www.facebook.com/blacklakerecords/