Threat Signal - Disconnect

Tracklist:

1. Elimination Process

2. Nostalgia

3. Walking Alone

4. Exit The Matrix

5. Falling Apart

6. Aura

7. Betrayal

8. To Thine One Self Be True

9. Dimensions

10. Terminal Madness

It's in moments like these that you realise how quickly time flies. I first heard Canadian metal band Threat Signal on the release of their 2006 full-length "Under Reprisal". Eleven years and various line-up changes later, they're back with a new album that follows on from their self-titled record in 2011. Having previously worked with Nuclear Blast they're now a part of the enviable Agonia Records stable, alongside the likes of In Mourning, Glorior Belli and Aborym amongst others. "Disconnect" is available digitally, on cd and on colour-in-colour vinyl. 

I was a tad excited when I saw this drop into my inbox, especially after so many years of loosing track of Threat Signal. Their sound has changed from Under Reprisal, but that’s no surprise given the line-up changes they’ve had to deal with. Opener Elimination Process covers all bases including melodic metal, thrash and off-kilter progressive metal (I’m avoiding using “that” sub-genre tag). Given the influences listed on the band’s social media page, you won’t be surprised by the content on here. It’s good to hear though that they’ve retained the melody that made earlier albums commercially successful, Nostalgia is an apt song to demonstrate that point, especially when the anthemic lead guitar kicks in towards the end. 

At time Threat Signal comes across more like a European band, especially in the structure and delivery of their songs. Walking Alone features plenty of melodic thrash influence throughout and with the help of the clear and modern production job, is very appealing. They move in a heavier direction on Exit The Matrix, which is made up of with metalcore’s traditional harsh verses and clean choruses. Threat signal doesn’t necessarily push the boundaries of heaviness, yet they play what’s natural to them and it works. Their crossover appeal is once again obvious on Falling Apart, which signals the mid-point of “Disconnect” and lengthier songs to come. Intriguing! 

The second half of the album is where Threat Signal”s progression bares more teeth. Aura contains subtle Eastern-melodies early on, moments of full-throttle thrash and time signatures that aren’t as easily obvious. Add to that some introspective passages of instrumentation and there’s a lot more to their music than you think. It’s definitely one of the strongest songs on the album so far. They follow it with a soothing piece called Betrayal with light guitar and more clean vocals, that’s as relaxing as it sounds. Threat Signal seems to have waited until the second half of the record to really open up their musical taps, as without being disrespectful to the band the first half wasn’t as exciting. There’s more guitar virtuosity on To Thine Own Self Be True, as well as extra musical layers that’ll sound great live. 

Dimensions follows with another blast of the band’s catchy thrash-tinged metal, but it’s all just a build up to the ten-minute monolith that’s album closer Terminal Madness. I was pretty eager to hear how Threat Signal would fare on a song of this length and can say that they’ve managed to create a dramatic and dynamic song to end on. There’s plenty of technicality throughout “Disconnect” and while it’s nothing you haven’t heard before, if you’re looking for a metal album that’s consistently strong and a band that manages to deliver through adversity and uncertainty, look no further that this.

You can stream both album opener Elimination Process and Exit The Matrix via Agonia Records' bandcamp page below:-

"Disconnect" is available to buy on all formats above as well.

Threat Signal - https://www.facebook.com/threatsignal/
Agonia Records - https://www.facebook.com/agoniarecords/

Mordskog - XIII

Tracklist:

1. Lautum Novedialem

2. Nascentes Morimur

3. Aequo Pulsat Pede

4. Pulvis Et Umbra Sumus

5. Mors Est Vitae Essentia

6. Ad Me Venite Mortui

7. C.A.M.

8. Mors Vincit Omnia

9. Todos Ustedes Deben Morir Esta Noche 

I'm sitting here hoping that the Mexican black metal of Mordskog will warm me up this evening (even though they would probably prefer the world to freeze over!). "XIII" is the corpse-painted trio's first full-length and was released in January via Werewolf Records in unholy collaboration with Hells Headbangers, having first formed in 2003. They shared the stage in Mexico City with Satanic Warmaster in July. That should give you a clue as to the seriousness of their craft. 

“XIII” starts with Lautum Novedialem, which is a haunting opener with ninety-seconds of restrained spoken-word vocals. When Mordskog’s black metal takes over it’s both melodic and atmospheric. It’s not all fire and brimstone even if the vocals are extremely harsh at times. Their music takes on more of a mid-paced form on Nascentes Morimur. It follows an old-school path and due to that it’s also catchy in a subtle way. The volume isn’t as high on the recording as you might like but you can always turn it up, which is exactly what I’ve done and in doing so the swathes of melody from the guitars swirl around me during Aequo Pulsat Pede. Their accented English vocals give their music an extra edge too. 

Pulvis Et Umbra Sumus is really where they hit their stride, with plenty of double bass and doom-like instrumentation underneath the feedback. The choral chants break up the icy howls of Lugubrem Acerbus and there’s a nice metallic layer in the song. Mordskog don’t dare hang around on “XIII” and there’s no meandering filler. Mors Est Vitae Essentia is both symphonic and evil in equal measure, with ritualistic percussion. The album was recorded by Lugubrem Acerbus, Murmur (guitars, bass) and Occultus (drums). Their momentum as a trio is clear to see (and hear) on Ad Me Venite Mortui. At times it has the feel of a black n’ roll song, at least before Mordskog abandons the noise and settles into a short passage of more traditional guitar-work. 

C.A.M. is a different beast altogether, as the black metal screams are replaced by semi-operatic clean singing  and while I’m not usually a big fan of that particular vocal style, it’s a good trade off actually. Mors Vincit Omnia elevate their songwriting and musicianship to a great level, one which shows off more of their anthemic black metal. Album closer Todos Ustedes Deben Morir Esta Noche builds with unnerving ambience and screams that slowly increase in volume. It’s a hauntingly apt way to end “XIII”. Mordskog’s place within the current black metal climate is a strange one. On the one hand they’re maddening and evil, yet on the other they’re strangely upbeat and melodic. Mind you, who really cares about trends and all that bollocks. If it’s good it’s good and Mordskog are certainly that. 

You can stream and purchase "XIII" on cd and digitally via Werewolf Records below:-

Mordskog - https://www.facebook.com/mordskog/
Werewolf Records - https://www.facebook.com/werewolf.rex/

Goblin King Interview

(Photo Credit: Dave Harris - Strike Imaging)

A few weeks ago now I reviewed the latest EP from London death n' roll quartet Goblin King. Shortly after that review, I fired an e-mail interview over to the band asking them about their EP "Blood, Drugs & Death N' Roll", their live show and the London scene that they call home. Check it out below...

How did Goblin King form? Were any of you in bands previously?

Paul Williamson (Vocals) - The actual meaning behind Goblin King is really just a metaphor for depression, similar to how ‘the black dog’ is used. It resembles the thoughts, feelings, and actions that I have gone through during some of the worst years of my life. I used to hate myself and as a result I acted out on this hate and became the Goblin King.

We’re all from various bands although none worth mentioning aside from Jester (aka. Riccardo) who is in an amazing band called Slave Steel.

It didn’t take you long to release your debut EP after forming the band. Was it always your plan to strike fast with “Blood, Drugs, Death N’ Roll”? What are the songs about?

PW - Would you believe we have a 10 track album ready to record already as well? There is a euphoric high from creating a song that is very addictive, more so than some drugs. The EP is a reflection on my early 20’s and is an introduction to the Goblin King character.

BDDNR – It’s a rant about two things that caught my eye on a journey to work. 1) The ridiculous bio text on a page 3 in The Sun next to a model. 2) An annoying person with a megaphone outside of Stratford station shouting that we’re all going to hell.

Goblin King – Drug addiction to keep myself numb and run away from my depression. Becoming the Goblin King instead.

667 – Your body is a temple, so be sure to desecrate it. It’s a journey about sex and drugs using biblical metaphors. Everyone is out to use you until they deem you useless. 

EOTS – These are my thoughts on humanity. 

Death Sti-XXX – This song should be ridiculed and laughed at. It’s about dealing drugs in clubs.

You take influence from a high-octane list of bands that mix punk with metal. What bands did you all grow up listening to? How long was it before you got into heavier music?

PW - For me personally, I started listening to metal around the age of 11 or so. Started off with Linkin Park, Papa Roach, and then I got my hands on Slipknot's "IOWA" and fell in love. I had that album as my alarm clock for school for years. My tastes took a more punk route as I grew older due to some bands I used to go to school with. 

What can people expect from a Goblin King live show? Feel free to plug any gigs/tours you’ve got coming up too!

PW - We have had people come up to us saying that the performance is quite intimidating to watch. I mean we have Beast wearing an executioner’s hood! We try to give it as much energy that we don’t have. 

No shows coming up currently since we’re focusing on this album. We are in talks however with Arno from F.O.A.D / ex-Generation Graveyard regarding a couple of shows.

Being from London, there are a lot of bands competing for the same audiences. What do you think of the live music scene there at the present time? What bands stick out for you that people should hear?

PW - You know I actually work at The Lounge 666 in Archway so I get to see a lot of the bands. I think getting that initial following has always been the big challenge for bands. It’s unfortunate how there are many people who do go out to events but only club nights and recorded music. 

Currently I’m looking forward to seeing Twelve Boar and King Parrot. Meinhof were awesome to see at the Unicorn recently as well as Stereo Juggernaut at the Lounge. Then my guilty pleasures list of sleaze/hard rock bands like ToxicRose, H.E.A.T, etc.

What have been your best and worst experiences playing live?

PW - Playing a gig in Birmingham with a previous band and ending up having diarrhoea on the day. Had to take a bunch of Imodium tablets and was pale as fuck.

Best experiences would probably be the first ever gig I played in a town function room. All teen bands were banned from playing there ever again owing to the roof tiles being ripped down, smoking inside, the bowling green was trampled on, etc.

Finally, what advice would you give to other bands following your experiences so far, whether it be writing/recording, band promotion or arranging/playing gigs?

PW - Have fun, be perceptive, be empathetic, and be ready to learn.

You can stream and purchase "Blood, Drugs & Death N' Roll" via Goblin King's bandcamp page below:-

You can read my review here (if you haven't already done so):-http://www.thisnoiseisours.com/2017/08/goblin-king-blood-drugs-and-death-n.html

I just want to say thank you to Paul for taking the time to respond to my questions.

Goblin King - https://www.facebook.com/GoblinKingOfficial/

Sons Of Alpha Centauri Interview + Split 7" (w/Karma To Burn) Trilogy Box Set Review

(Sons Of Alpha Centauri 2010)

July 2017 saw the release of a special 7" trilogy that featured the collaborations between UK instrumental band Sons Of Alpha Centauri and US stoner/rock trio Karma To Burn. The story behind the trilogy goes back ten years to when members of both bands collaborated on a project called Alpha Cat, which saw them release the album "Last Day Of Summer" in 2009 via Underdogma Records. The box set (limited to just 200 copies) included all three 7"s as well as "Last Day Of Summer" pressed onto vinyl for the first time, specially created artwork and expanded booklet with liner notes from many of the people who've worked with both bands along the way. I little while ago I interviewed Sons Of Alpha Centauri about their collaboration and about the box set. I am pleased to bring you both the interview and a review of the release below...

How did Sons Of Alpha Centauri first form? Can you tell us a bit about your history?

Marlon King (Guitars) - Before SOAC, Nick and I were in a grunge band together called Pariah when we were both 15. It was a typical local band of the time, it had a different member line up each year. I was in the band for about 18 months before I ended up leaving to form an Indie band called Passola with friend Michael Osbourne (now drumming with Moose Blood). But it was in Pariah Nick and I performed our first rock gig and we become friends and started playing music together.

In 2001, we were both at University and the bands we were in started to fold. It was around then we started talking about starting a long-term musical venture. Took us a few years to get a collection of tracks together as Nick was based in Birmingham at the time and me in Canterbury, but by 2004 we had nearly 30 tracks and started to look for other band members so we could start playing live and that's where it all kicked off.

You’ve become known for your splits with fellow instrumental band Karma To Burn. How did that collaboration come about?

Nick Hannon (Bass) – I bought the first KTB album probably about 20 years ago now and they blew me away man! There was like 10 – 12 of us that used to knock around Sittingbourne listening to music and they became a mainstay on the stereo. We were lucky enough to see them in 2001 on the Almost Heathen tour probably a few months after SOAC formed. Me and Marlon met Will that night at a really inspirational point.  

Around 2006 I managed to get in contact with Will when he was in Treasure Cat and invited him over to record with SOAC. We formed a side project called ‘Alpha Cat’ and managed to write and record three new tracks. We did a whole record with him called ‘Last Day of Summer’ which included 4 tracks from SOAC and from Treasure Cat. As such once Karma got back together having supported Will and the guys when they were offline were has the idea of doing a 7” and a tour together and it just went from there. 

You’ve recently released a box set with KTB, which looks great! Can you tell us about that? How did you come up with idea and what does the box include?

Nick - So, the first vinyl came out on Kitchen Dweller Records and we were gonna do the second one on SpaceAge & Cheesecake Records. They had printed everything up and paid for the masters but Buzzville Records went pop so that was junk. However, Jürgen at H42 Records stepped in and he was on his first few releases and he took it on. He did an awesome job, so we did another and then for that one we also did it as the first DesertFest vinyl too. Since then, me and Jürgen have worked on the DesertFest series together.  

After quite a few shows and so many stories we thought about doing a repress with a booklet and then just thought why not put all the vinyl and the collaboration from Last Day of Summer all together with a big book? So we did that. H42 put a bottle opener, postcard, CD, poster, lighter in there too and just went full on. I spoke to Nathan (Limbaugh – original KTB drummer) and he hooked us up with loads of photos from back in the day. Alex von Wieding lead all the design and incorporated the KTB Goataneer, Alpha Cat and concept art. It took about 2 years to put it together and it near enough sold out pre-sale so was well worth it. Respect to everyone for their support and interest always. 

Aside from your collaborations, your self-titled album was released almost ten years ago now. Are there any plans to record a new album and/or tour?

Marlon - No tour booked in yet, but we are now working with H42 Records and Cobraside to release our new album in 2018. Whilst we have done several collaboration releases since our debut, this will officially be our second album. It's been a long time in the making but looking forward to getting it out there. 

This is a question that I try and ask most bands; what advice would you give to new bands who’re just starting out?

Marlon - You can either follow the sheep and try and be big or you can try and be unique and play in the shadows. Maybe it’s not quite that dramatic, but we have certainly found more enjoyment from playing in styles that are not necessarily as accessible to a wide audience but are more meaningful to us as individuals and anyone else that "get" that vibe. All in all though, it really does depend on what your influences are. We have lots between us and we have never locked down SOAC to a specific genre, only enough to form consistency within an album.

So my advice would be to play and write music you enjoy rather than music you think others will enjoy.

From your connection to DesertFest and from touring in the UK, what current bands could you recommend to fans of the instrumental/stoner genres?

Nick – There’s some great new UK bands out there man. Bossk, Desert Storm, Ten Foot Wizard, Boss Keloid, Enos, Bong Cauldron off the top of my nut. All well worth checking out for sure! 

That said, we don’t really knock about with many other bands to be honest – or at least not UK ones. We used to tour with Bossk back in like 2006 – 2008 but that was about it really! 

Below you can read my dissection of the 7" trilogy that forms the backbone of this special release...

Tracklist:-

1. Karma To Burn - Fourteen

2. Sons Of Alpha Centauri - 65

3. Karma To Burn - Fifty Five

4. Sons Of Alpha Centauri - 71

5. Karma To Burn - Six

6. Sons Of Alpha Centauri - 66

7. Alpha Cat - The Flying Dutchman

8. Alpha Cat - Fire

9. Alpha Cat - Last Day Of Summer

The first six songs of this release span the three splits that both band’s did together. Karma To Burn start things off with Fourteen. KTB is a band that I’ve heard and read a lot about in recent years, but have never crossed paths with. Their stoner-rock instrumental on this first song goes from a meandering bluesy tempo to a more full-on stomp that gets the heart racing. Sons Of Alpha Centauri and first song 65 sounds more goth-like, which is perfect for Halloween; however, that soon dissipates as the guitar takes over. It’s strangely haunting and at times droning in places, though they don’t stray too far from their rock blueprint and exhibit a slight political stance through the samples used. 

Fifty Five sees Karma To Burn heading in a direction that seems to be more occult, but that’s misleading as the use of electronics and funky bass prove. There’s actually a lot going on musically in these songs and KTB use their’s to exhibit a deft touch when it comes to multiple influences. Their melody is never truly extinguished by their heaviness either. It ends with a looping recoding of a voice mail message left for Sons Of Alpha Centauri by Will from KTB and a hip hop-like outro at the end, which sheds more light into the relationship of the two bands. SOAC follow with 71 and it’s a slow-burner of a song. There’s riffs aplenty on it and a lot more groove. Their sound seems to lean more towards the straightforward rock end of the spectrum, yet they have a knack of making it super catchy  and interesting as  the song drives on.

KTB’s last song from the 7” trilogy is Six and it builds with the kind of post-rock atmosphere that would make many a band happy. While there’s an experimental edge to both bands, KTB’s stands out more. Six is shorter than their previous offerings here but it’s precise and it sounds almost familiar somehow. SOAC’s last song is 66 and it’s an off-kilter rager with some of their own electronic touches thrown in for good measure, adding extra layers. At time it’s more pensive and brooding, which SOAC does pretty well. Over the years I’ve come to appreciate instrumental music  a whole lot more than I did when I started this blog and while neither KTB or SOAC are overly technical, they both play great music that’s got personality and warmth to it. 

The final three songs of this release are from the collaboration Alpha Cat, with which members of both bands recorded the album “Last Day Of Summer” in 2009. The first of the trio, The Flying Dutchman is tuned low and has an air of Motorhead about it and possibly what sounds like a Harmonica. It certainly adds more jazz to the occasion. Fire is altogether slower and harks back to the bands of the collaborators. It grabs the best bits from both KTB and SOAC and turns up the volume. The title-track form the aforementioned collab is one final slab of rock, taken down a path via various other genres. Those other genres may not be easily noticeable amongst the music, but they’re there and Alpha Cat does a great job of weaving them in. In fact, instead of me trying to pigeonhole all three bands on here, just listen for yourselves. This release is definitely worthy of your ears. 

Below is a visual representation of the box set to tempt you:-

UK residents can grab the remaining five box sets from Sons Of Alpha Centauri here - https://sonsofalphacentauri.bandcamp.com/album/sons-of-alpha-centauri-karma-to-burn-trilogy-boxset

I believe it is sold out from Karma To Burn and other vendors (but feel free to correct me if I'm wrong).

Karma To Burn - https://www.facebook.com/karmatoburnofficial/

Sons Of Alpha Centauri - https://www.facebook.com/sonsofalphacentauri/

TV Crime - Clocking In/Clocking Out 7"

Tracklist:

1. Clocking In

2. Clocking Out

Got a night of beer/record consuming ahead of me tonight with a mate so wanted to get something written up before it's too late. That something is Nottingham punk-by-way-of-every-other-genre band TV Crime and their latest 7" "Clocking In/Clocking Out". It's only their second release to date and came out in July via Drunken Sailor Records. This'll probably make me want to re-subscribe to Maximum Rock 'n' Roll!

This is a dead simple double a-side 7”. Clocking In is a rocking garage-punk song, with 70s inspired melodies and a hint of greasiness. The song is really up-tempo and crisp sounding with clean vocals. Clocking Out is even more catchy and well-written. Gloriously nostalgic with guitar work to match. TV Crime ain’t following any modern musical fads or anything, they’re just playing punk rock with hooks for days. 

The 7” is over all too quickly but as it’s so infectious, you’ll be repeating it over and over again. No sign yet of a full-length from TV Crime, but I hope they don’t wait too long as there’s only so long people can contain themselves for. 

Stream and buy it digitally here:-

TV Crime - https://www.facebook.com/TELEVISIONCRIME/

Grab the 7" here from Drunken Sailor Records - http://www.drunkensailorrecords.co.uk/

Drunken Sailor Records - https://www.facebook.com/DrunkenSailorRecords/

Laster - Ons Vrije Fatum

Tracklist:

1. Ons Vrije Fatum

2. Binnenstebuiten

3. Bitterzoet

4. Helemaal Naar Huis

5. De Tijd Vodr

6. De Roes Na

7. Er Wordt Op Mij Gewacht

I'm a bit annoyed with myself for not writing last night; however, I'm making up for it now with this early-2017 full-length from Dutch post/black metal band Laster. "Ons Vrije Fatum" was released via Dunkelheit Produktionen in January and Laster followed it with a performance at April's Roadburn Festival in Tilburg, The Netherlands. This otherworldly trio has always been a captivating proposition but with atmospheric and avant-garde black metal growing in popularity, Laster might have found their true form.

Something tells me that this isn’t going to be an easy listen and despite the extreme tones on opener Ons Vrije Fatum, you can see where Laster are coming from when describing their music as “Obscure Dance Music”. They mix their black metal with melody, subtle samples and occasional gang vocals/clean singing. These textures and more make this record more varied that you might think. Their instrumentation later on in the song verges on cinematic. There’s plenty of musicality coursing through Binnenstebuiten. So much so in fact that it will appeal to more than just extreme metal fans. The dissonant guitars often gives way to melodic passages, while minimal percussion allows said melody to come to the fore, with elements of jazz and also strings playing their part too. There are multiple movements within the song, where Laster moves from the cinematic sound I mentioned to a bleaker and altogether more orthodox black metal one. It’s a subtle switch that takes time to become fully apparent. 

Bitterzoet is really catchy, with it’s upbeat tempo and rock-influenced guitar work. It’s way more fun than you’d expect from something that has it’s roots in extremity but that’s probably one of the reasons for the band’s Roadburn Festival appearance earlier in the year. It’s one of the most open-minded music festivals and takes place in the most open-minded country in Europe, so go figure. Like their countrymen Terzij De Horde, they’re not afraid to let their emotion show and Helemaal Naar Huis has a palpable sense about it. The screams are delivered in a way that makes them sound way more human than any “trve kvlt” shriek could. It’s also an incredibly progressive song but not in a head scratching way, which is good. The Saxophone is really soothing during the song’s second-half and really adds to the excitement that jumps out through the recording, which itself is great by the way. 

Laster sees fit to break things up with a short instrumental piece by the name of De Tijd Vodr. It works because of the atmosphere that’s woven between both the traditional and modern instrumental layers and the dissonance of the guitars, once again. De Roes Na begins with a sense of peacefulness but it’s brief, as the song quickly turns into one of the more black-metal heavy songs on “Ons Vrije Fatum”. There’s still a lot going on though and boundaries that need to remain broken. During their vocal harmonies, they remind me a bit of Baroness. There’s one more chance for you get your avant-garde freakiness on with closing song Er Wordt Op Mij Gewacht. Moments of strange serenity are interspersed with uber-fast drumming and tremolo picking that goes some way to reminding you of where you are, musically at least. This record makes you reassess the way you view black metal and it’s done in a brilliant way. There’s fluidity to it. You should listen to it in one sitting to really appreciate it. It's incredible. 

You can stream the entire record via Laster's bandcamp page below, where it's available to purchase digitally or on tape, cd or double black vinyl:-

Laster - https://www.facebook.com/lasterspraak/

All formats are also available from Dunkelheit Produktionen here - http://www.dunkelheit-produktionen.de/presta/en/12-dunkelheit-releases?page=2

Dunkelheit Produktionen - https://www.facebook.com/dunkelheitprod/

Deviator - Might Ov Ancient

Tracklist:

1. Cold Of Winter In The Heart 

2. Enchanted Circle

3. Thy Immortal Majesty

4. The Inner Self

5. Across The Gates Of Oblivion

Waking up and leaving the warmth of my flat to go to work in the dark this morning was a very sobering experience. I'm tired beyond belief, but more mentally so. My mood is matched somewhat by the dark cover art that adorns "Might Ov Ancient", which is the latest full-length effort from Ukrainian black metal duo Deviator. It was originally released towards the end of last year both digitally and on tape (via Werewolf Promotion) before getting a cd release (via Kundalini Records) in August on this year. The album contains the three songs that appeared on the 2015 EP "Thy Immortal Majesty" and also a re-recording from the early 2008 demo "Estrangement".

Might Ov Ancient sees Deviator pursuing a musical style that’s a lot more haunting than previous works. Album opener Cold Of Eternal Winter In The Heart contains semi-whispered (at least more restrained) black metal vocals and a slower tempo, while the guitar provides melody and synths provide majesty and a certain level of drama. Enchanted Circle is more familiar sounding, yet it still retains a brooding atmosphere. A lot more melodic and ambient for sure with no single element overpowering the others. 

The opening instrumental passage on Thy Immortal Majesty builds and then fades. Nothing remarkable about that you might think but it does highlight how effective the production/mastering is on this seemingly DIY release. The volume of the record is such that you really don’t have to turn it up too high to enjoy it, which is often a symptom of lo-fi/budget releases. Deviator seems to recognise this and has avoided that trap here. The main body of the song, consisting of more brutal black/thrash is not half bad either, interspersed as it is with more ambient textures. 

According to Metal Archives The Inner Self is a re-recording of the song that first appeared on the 2008 demo “Estrangement”, though I can’t see that song listed as being on the release. If someone could correct me here, it would be much appreciated. The song itself is an ambient piece with rousing strings and keys. Closing song Across The Gates Of Oblivion begins with the lowly sound of the wind before a bizarrely upbeat combination of keyboard/guitar that sounds as though it was lifted from an 80s pop song. It’s not long though before any notions of joy and happiness are withered away. That’s the thing about this release. It’s not truly depressive or caustic as it has plenty of melody and ambience and what the duo in Deviator has managed to do here is very admirable indeed. 

You can stream three songs from the release below:-

Physical cd and tape copies are available and you would be best contacting Deviator directly via Facebook here - https://www.facebook.com/mightovancient/

Geist - Disrepair

Tracklist:

1. Painkillers

2. Dear World...

3. Services Rendered

4. Eyeless Needle

5. Fiction Souls

6. Inkblot Lives

A year on since their first committal to vinyl, North-East England's Geist have been immortalised in 12-inches of glorious wax. This time it's a single-sided slab with a nice etched b-side. 2017 has been a good year for the band with the release following their successful UK tour with US black/heavy band Sunlight's Bane. The UK's heavy hardcore/grind movement has always been strong but Geist has been holding the extreme torch aloft for a long time now, elevating the impact made by their former bands. Staring into the black eyes that adorn the record's cover art should give you a sense of the emotion that fuels their musical intent.

Whenever I’ve seen Geist live they’ve always been intense. That intensity is bottled and dispensed here on record opener Painkillers, Ian’s vocals are relentlessly angry, while the band behind presents a mix between modern pv/grind and a throwback to the heavy hardcore that’s died away in recent years. The feeling is no happier on second song Dear World…, with Geist continuing their metallic assault, with guitars and feedback accompanying the palpable sense of dread that their music portrays. 

Geist doesn’t hang about, fitting no less than six songs onto one side of vinyl is pretty good going. Services Rendered contains a different approach from the band with a slower paced track full of metallic, brooding melody. The screeching feedback that heralds the start of Eyeless Needle pretty much sets it’s stall out early. What follows is intense but also creative. 

If you’re someone who sees the worst in everything, this would not be recommended listening but for those of you who’re more well balanced, you’ll enjoy it. Geist’s no-nonsense songwriting on Fiction Souls and indeed Inkblot Lives shows that song length has absolutely nothing to do with song impact. By now Geist is a band that feels and sounds like veterans amongst the UK ranks. They’re written a record in “Disrepair” that aptly describes their feeling towards modern life but also provides something constructive and mature to hold on to. Great work from a band who’re consistently on point.

You can stream and purchase "Disrepair" digitally from Geist below:-

They have vinyl copies available here - http://geistuk.bigcartel.com

Geist - https://www.facebook.com/ukgeist/

"Disrepair" was release by a cooperative of six DIY labels. Their links are below:-

Vetala Productions - https://www.facebook.com/vetalaproductions/
Black Omen Recordings - https://www.facebook.com/BlackOmegaRecordings/
Wooaaargh - https://www.facebook.com/WOOAAARGH/
Prospect Records - https://www.facebook.com/prospectrecords/
Inverted Grim-Mill Recordings - https://www.facebook.com/invertedgrimmillrecordings/
Rip Roaring Shit Storm Records - https://www.facebook.com/Rip-Roaring-Shit-Storm-Records