Friday, 20 July 2018

RECORDS OF THEIR YEARS...with Julien Chanut from Hangman's Chair


Hangman’s Chair are regarded as France’s foremost name in the world of stoner / doom, releasing a steady flow of singles, EPs, albums and split releases (including a 2017 split EP with longstanding Japanese stoner / doom outfit Green Machine), yet their music is in no way bound by style, as their latest album ‘Banlieue Triste’ clearly shows; these 10 featured tracks represent the band’s most complete, realised statement to date, successfully merging a variety of different elements into a body of work driven from the conscience and the heart, with subtle touches and crushing power standing side by side. 

Recently signed to Spinefarm Records, it seems the band are finally receiving the recognition they deserve and having been a fan of the band since the release of their fantastic “Hope Dope Rope” from 2012 , after  long 6 years I am finally able to feature the band on THE SLUDGELORD, so please welcome guitarist Julien Chanut as he chooses his “Records of their Years” 




SL: Favourite album from the year you were born?



Julien: Renaud, “Marche A l’Ombre” (1980)

Well, I could have chose some obscure goth band from the early 80’s or a NWOBHM band of that era but the only album I know for sure that popped out in 1980 is “Marche à l’ombre” of Renaud. He’s an old French singer, he‘s still alive and started his career back in the ‘70s, he’s really famous in France.

He sings about the “banlieue” the ghetto youngsters, Paris, love, politics, everyday life… sometimes in a humoristic way but most of the time in a sensitive way. At that time he was considered as a rebel, he was against all repression, Police, Army, government.  As I am not really into politics, I prefer when he talks about everyday life, his stories about being young in France in the 70’s/80’s.

That’s the kind of music we like to play at parties or in the van, we all know the lyrics by heart and it’s great for late night karaoke.  Moreover, with the artwork of “Banlieue Triste” we somehow pay tribute to all his early album covers, we took a nostalgic look back at those covers.

SL: First album you bought with your own money?



Julien: Michael Jackson, “Bad” (1987)

I was 7 at that time, the album had just come out and it was a huge worldwide release. With my money pocket, I remember buying it in a market street in Thailand, those kinds of illegal shops where they used to sell hundreds of cassette tape bootlegs for dirt cheap. Mine was a recordable tape with a color photocopied cover, no lyrics.

My favourites songs were “Liberian Girl” and “Smooth Criminal”, I was playing them all day long in my room, trying to sing in fake English, so “any ayou wocki” (Annie are you ok)

A few years later, when I was a little more confident in my music taste, I got introduced to Hip Hop by a cousin and bought the tape of ICE T, “Iceberg” in a “real” shop, knowing exactly what I was looking for. That was the first time I get a tape that I wanted for a long time.  After that, when my sister get our first CD player, as a young teenager discovering punk hardcore, the CD I bought was Bad Brains, “Rock The Light” and my first vinyl was Judge, “Bringin’ It Down”. Before that, we were trading and borrowing 90min recordable tapes of multiple bands. 

SL: Favourite non metal / rock album?




Julien: Mobb Deep, “Hell On Earth” (1996).

I listen to a lot of Hip Hop, US and French but the first time I heard Mobb Deep, it was like I was rediscovering rap music. This album in particular was my introduction to their work and to all the Queensbridge sound, it sounds rough, cold and dark and that’s what I was looking for a long time without even knowing it.

Everything is great on “Hell On Earth”, from the title itself to the lyrics to the instrumentals of Havoc, the atmosphere is so grimy. Prodigy is probably my MC number one, alongside with Shyne, they are a real inspiration for our lyrics, even if we don’t deal with the same subjects.

Now, I ‘m more into old Memphis rap bands like Three 6 Mafia, Tommy Wright III and some Screwed & Chopped like SpaceGhostPuurp.

SL:  Favourite album of all time?



Julien: Tough one… usually people asks for your Top 5 of all times… I cannot chose one album in particular, it depends on my mood, one day I can tell you it’s “Nine ways to say I love you” by Section 8 and another day “Dirt” by Alice In Chains etc… What I can tell you is the song for my funeral: “The Last Rebel” by Lynyrd Skynyrd

SL: Favourite album of 2018?



Julien: YOB, “Our Raw Heart”

Not very original on this one but so far, this is my fav album of 2018. Everybody was expecting for a great album after what Mike Scheidt has been through and that’s exactly what they did. Just like all their albums, I need several playings to really get into it, I explain myself : first I prefer the sound of “Clearing The Path To Ascend” which is at the first listening more powerful and secondly “Our Raw Heart” is much longer than all the previous ones, maybe too longer, too much informations.

So you keep on listening it and then, all of a sudden, it becomes clear. It takes time to appreciate good things. The sound is lighter but that’s OK, it fits the songs, now my ears are getting used to it and I finally understand the tracklisting. “Beauty In Falling Leaves” and “Our Raw Hearts” are soulful songs. There’s something unique about this band.


SL: And finally The last album you bought?



Julien:  RITUALZ, “DOOM” (2018)


For me, it sounds like a slow low fi version of PRAYERS, a good mix of cholo goth, dark wave, industrial and post punk. His first albums are more in the vein of the Witch House bands, great stuff though.

The End

Hangman’s Chair’s new album “Banlieue Trist” will be available on 27th September 2018 via Spinefarm Records and the track “04/09/16” can be stream below



Band info: bandcamp || facebook

Wednesday, 18 July 2018

INTERVIEW: Wormrot @ The Meatlocker in Montclair, NJ (June 3rd 2018)

By: Mark Ambrose



In May and June of this year, Singapore’s Wormrot embarked on their first US tour in years, culminating on June 3rd at the Meatlocker in Montclair, NJ.  The set was once in a lifetime spectacular, enervating a wall to wall crowd from start to finish.  Though the show wrapped up after 1 AM, I was wide awake for hours afterward, trying to put into words the emotionally transcendent moment the few of us lucky to be there had witnessed.  This show, and this tour, were the result of years of planning, frustration, and hard work by bookers, tour managers, local musicians, and the band themselves.  I was honored to sit and speak for a few moments that evening with founding member, vocalist and lyricist Arif.  He went in depth about a number of topics: just how tumultuous it can be for foreign visitors to the United States, especially musicians; the frustration of creating art in a colonized society; the experience of playing a heralded set at this year’s Maryland Deathfest; and the relentless struggle of being separated from his wife (Wormrot manager Azean) and their son in order to perform around the world.




SL: First off, can you explain what happened when the tour booked for 2017 fell through?

Arif: So we were supposed to tour the US last year but we weren’t prepared visa-wise.  It was a little bit of last minute preparation and due to the political climate we didn’t want to risk it.  We were a little more prepared this year.  Visas are expensive and we had to go through interviews with the US embassy in Singapore.  Thankfully things went smoothly and we’re here now.

SL: On top of that, you had some issues around your equipment this time – apparently some things were held up in customs?

Arif: It’s not a tour if shit doesn’t happen.  One of our friends was supposed to come with us and mentioned the wrong fucking thing and was deported.  We were being interviewed and he was asked, “What do you do in the band?” And he probably mentioned he sells stuff.  And if you mention money, they’re going to interrogate you.  And on top of that, our luggage was all in his name.  That was the start of the complications.  It took us about a week to get our luggage back, but we borrowed equipment from bands, used our same clothes for a week – no toiletries or whatever.  So it was a little rough.  But thankfully everything is with us now.

SL: So with these hurdles and headaches – is that particular to US touring or is it anytime your travel internationally to play that you’ll encounter these frustrations?

Arif: I think it’s probably our luck is not that great. I’m sure it’s easy to travel.  Our luggage was supposed to be under our names but someone in Singapore customs put it all under one name.  I guess… better luck next time!

SL: What was your preparation for Maryland Deathfest?

Arif: It’s good NOT to prep yourself.  Be yourself.  We’re not trying to impress anyone or show off or say we’re better than other bands.  If people like it, fucking great.  Try not to pressure yourself every show.  Stay calm and have fun.



SL: Are you working towards any new material or a new release?

Arif: Afer this tour we’re heading out again – not another tour but the Obscene Extreme Festival in the Czech Republic.  It’s the 20th anniversary so we’re really honored to be there.  After that we’ll probably start writing the new album.  But we’re going to take our time – we do not like to rush albums.  Usually what we do is Rasyid, our guitarist, will come up with a riff and a few drum beats and we’ll jam it out in a studio.  And I’ll just blurt our something to go alone with the music and write the lyrics during the recording process.  On “Voices”, after they recorded the guitar and drums so I had fixed, concrete music, I started writing the lyrics.

SL: This will be the second album with drummer Vijesh on drums.  Does he take an active part in songwriting or is it jammed out in studio?  What’s the musical approach?

Arif: Raysid is the main songwriter of the band.  He has all the riffs built out already. Vijesh and I will have some tweaks or modify things.

SL: As you work towards new material, what are some topics that have been on your mind?  A lot of bands, especially in grindcore, are focused on the immediately political, but with a record like “Voices” it seemed a lot more personally focused with some crossover to broader issues.

Arif: A zillion grindcore bands start talking about politics – and this is just my opinion – it’s pretty redundant.  They are talking about changing the world but the world is still fucked!  So there is no point in my point of view.  I’ll take every single album of ours as a diary.  I think its way more meaningful so we can look back at the lyrics and go “oh shit we went through all that shit!” So we try not to be as political… It depends on what we experience through the year.  If it was a depressing year, it’s probably a depressing album.  With “Voices” that ended up being a really depressing album.  We lost our drummer [Fitri] that year and we almost quit the band.  But we pulled it through.

SL: Do you feel in a more positive mode now?

Arif: So far it’s been very positive.  I’m a little concerned about the next album – it’s probably going to be a very positive album!  But at the same time, we’re still going through social issues.  We’ll mix it up.


SL: Is there much you’re taking in, as far as music or culture, that’s locally produced? 

Arif: Singapore is basically a Westernized country.  The majority of our shows or TV is US stuff.  Locally we have cuisine and stuff like that.  Culture-wise – it’s basically fading off.  We don’t have much forested area – its high rises.  A lot of the old buildings have been demolished.  So, I have no idea – we are a westernized island.

SL: What do you dig into to get centered or relaxed?

Arif: Really, spending time with my wife and son.  Family comes first.  Living in Singapore you can become a robot.  It’s all about work.  There’s no time for leisure.  You have to make the best out of it.  Touring is sort of like a holiday, but a tiring fucking holiday.  It’s always about work.  Actually, I work in a warehouse doing a twelve-hour shift every day.  When we get back from tour, the next day will be back to work.  Living in Singapore is really fucking expensive, too.  I’m sorry to depress you!

SL: Well with the amount of energy and money people expend to really keep a band going, it’s pretty remarkable that you guys can still work, and do these tough tours, and maintain a job, and keep making, frankly, amazing records!

Arif: You know, we have friends back home who used to be in bands and had to quit to make money or keep a job or have a family and at the time I would say, “Oh you’re a fucking pussy!”  But you have to pay your rent.  Now that I’m at that stage, having a child, I can see that quitting a band is probably a good move.  But I’m not going to be a robot.  I need a break from that reality and Wormrot is a big deal in my life.  Wormrot is bigger than the three of us now and I’m not going to put it to rest.

SL: Last question: What are some bands you were able to take in and enjoy this tour?

Arif: Oh man – we have seen so many great fucking bands.  We’re touring with Escuela and they’re just killing it every night.  I loved Sarlacc – a Star Wars inspired band that is fucking groovy.  Organ Dealer. Chepang.  I didn’t get to watch Pig Destroyer but they probably killed it.  I managed to watch Godflesh for five minutes and it was amazing.  There are a lot of underground bands that kicked our asses every night that I can’t remember the name of right now!

The End



Band info: facebook || bandcamp

Monday, 16 July 2018

REVIEW: Smock, "Interstellar Nobdy" [EP]

By: Mark Ambrose

Album Type: EP
Date Released: June 15, 2018
Label: Independent



Smock harnesses the darkest corners of retro rock, riding on surf guitar lines, fuzzed out bass, tight as fuck drum fills, and the often sweet but occasionally sinister vocals of Jenne Benicaso.

“Interstellar Nobody” DD track listing

1. Interstellar Nobody
2. Weird One
3. High Life
4. Bleach

The Review:

Maybe it’s the heat.  Maybe it’s the relentless humidity.  Maybe it’s that godawful haze that hangs over the industrial skyline.  But for me, this summer has been punctuated by tripped out psychedelic, punky, metallic garage rock weirdness.  In the same way that black metal treks through frozen tundra feels most effective after the truly bitter January chill has set in, the slick, sweaty, kind of nauseating midsummer swelter makes me feel like around every corner there could be a freakish Robert Crumb caricature or a roving pack of S. Clay Wilson pirate-bikers primed to bash my face with a bottle.  And there are few records as appropriate for these paranoid delusions as “Interstellar Nobody”, the debut EP by NJ’s own Smock.

A lot of neo-psych lays the flower power bullshit on thick, missing the speed-addled discomfort inherent in a lot of the best shit that influenced a generation of Pebbles and Nuggets listeners.  I mean, sure, the blissful Eastern mystic stuff has its place, but does it rock?  Not hardly.  Thankfully, Smock harnesses the darkest corners of retro rock, riding on surf guitar lines, fuzzed out bass, tight as fuck drum fills, and the often sweet but occasionally sinister vocals of Jenne Benicaso.  When, on closer “Bleach”, he croons “You know it. / I’ll wait, I’ll wait / I’m still waiting for you…” there’s something a bit unsavory, especially layered with reverb and over a krautrock progression their forebears from Neu! would be proud of.

The title track on is a sweet slice of doomy stoner rock that reminded me of the most promising tracks by Uncle Acid, but unlike the steadily midtempo jams of the English post-Wizard class, Smock launches into faster garage punk on “Weird One”.  The warbling, trebly high end guitar work of Benicaso and Zach Inkley is deftly balanced by Cameron Smith’s hefty bass tones, and the steady rhythms (courtesy of Dee Morris) makes “Weird One” the type of banger someone could (gasp!) maybe bop along to.  “High Life”, the fastest song on the EP, is also the most neurotic.  Benicaso’s hallucinatory narrations – “Sun becomes the sky / The Mud turns into the clay / The kingdom crumbles down / Are you listening” – are eerie but strangely beautiful.

“Bleach”, the aforementioned krautrock-indebted closer, is really a marvel and a testament to how promising this quartet is.  The opening buildup feels like the classic live-in-studio cuts of the garage greats Smock draws from, but organic, in this case, doesn’t mean low quality.  Both guitars are balanced in the mix, the bass has a solid presence, and Benicaso’s vocals maintain that distance in the mix that more rock bands need to aspire to.  The guitar harmonies are really lovely too, and manage to sound heavy without sounding like atonal noise.  It’s the rare record that drew me in more the further I went, and left me aching for the next (hopefully full length) release.  And while it’s the perfect jam for my summer, I’d be happy to spin these tracks any time of year.


“Interstellar Nobody” is available at here



Band info: bandcamp || facebook

ALBUM REVIEW: Drug Cult, "Drug Cult"

By: Charlie Butler

Album Type: Full Length
Date Released: 29/06/2018
Label: Ritual Productions




Drug Cult’s debut album is a confident display of expert riffcraft cloaked in a shroud of mystery. It is highly recommended listening for doom connoisseurs and hints at an intriguing future ahead, particularly if they indulge in their expansive, psychedelic tendencies.


“Drug Cult” CD//DD//LP track listing:

1). Serpent Therapy
2). Release
3). Reptile Hypnosis
4). The Wall
5). Mind Crypt
6). Slaylude
7). Bloodstone
8). Acid Eye
9). Spell

The Review:

Bands that seem like they were named by selecting two words from a doom bingo card don’t inspire expectations of greatness. Fortunately, the racket Australian quartet Drug Cult create is leagues above the generic tedium of their moniker. Their debut LP may be low on originality but the bands distinct strain of hypnotic sludge is an intoxicating brew.

The spirit of prime Electric Wizard courses through this records veins. Imagine a combination of the concise songwriting of the “Witchcult Today” era with the spite and filth of “Come My Fanatics” and you get a good idea of Drug Cult’s brand of evil. The band have a seemingly bottomless supply of nasty, killer riffs that fuel the likes of “Reptile Hypnosis” and the slowly unfurling bad trip of “Serpent Therapy”. Aasha Tozer’s powerful vocals enhance the bleary, sinister ambience, hitting a darkly sweet spot between melody and grit. The entire production is caked in reverb that gives these tracks an otherworldly hazy heaviness that sets Drug Cult apart from their peers. This is particularly noticeable during the brief guitar solos in “Slaylude” and “Acid Eye”, glorious explosions of untamed cosmic noise that could easily spiral into endless jams into the beyond. 

Drug Cult’s debut album is a confident display of expert riffcraft cloaked in a shroud of mystery. It is highly recommended listening for doom connoisseurs and hints at an intriguing future ahead, particularly if they indulge in their expansive, psychedelic tendencies.

“Drug Cult” is available here



Band info: bandcamp || facebook

Sunday, 15 July 2018

SLUDGECAMP #4: A deep dive into the newest black metal releases on Bandcamp w/c 13/07/2018

By: Daniel Jackson

Stíny plamenů,



Welcome back to “Sludgecamp”! Summer is in full swing, so of course I’m about to recommend you a bunch dark, depressing, downright bleak music to ruin all the good energy the life-enriching sun is blessing us with on these long, hot days. Whereas last week was particularly death metal-heavy, this week is essentially an all black metal extravaganza! As always, I hope you find something to love here!


Released this week:

1). Stíny plamenů, ‘20 let kanalizačních zmetků’ (
Czech Republic)

 
Stíny plamenů is a name I’ve heard over the years, and it’s one I’ve wondered about each time I see it, but I’ve never really pulled the trigger until now. I’m glad I did this week! Though weirdly obsessed with sewers (so much so that it’s the first theme listed in the band’s lyrical themes on Metal Archives), the music is an awesome throwback to that speed-crazed late 90s black metal sound. The riffs here have depth and personality, stabbing and twisting as the songs roll along, all with a touch of melody. The performances here are so precise and yet so natural, which makes this an absolute joy, especially if you’re a big fan of the more melodic side of 2nd wave black metal.

2). Svältvinter, ‘Att Öde Vara’ (Trollhättan, Sweden)

 
This is some pretty straightforward black metal, but with an obvious eye on whatever the greenest pastures of the genre might be. The songs are written specifically to stick in your head and make an immediate impression. It’s a brilliantly stipped-down, nearly punk rock approach that gives the band plausible deniability when it comes to selling out, while being immediately accessible in a way you might have expected from an early 2000s Moonfog Records band. The vocals are absolutely venomous here, and lead off track “Skogsbrand” even features something approximating gang vocals. The EP concludes with an uncharacteristically atmospheric song, swinging along in a way that almost gives it a folk metal feel. Great stuff all around, if you don’t mind an especially “basic” songwriting style.

3). Kryptamok, ‘Profaani’ (Finland)



Blood Harvest this week brings us a delicious gritty black metal EP, via Finland’s Kryptamok. Where reinventing the wheel clearly isn’t the goal here, the band succeeds in a big way by taking a classic, established sound and just doing it in way that feels raw, vital, and coursing with frenetic energy. You’ve likely heard something that sounds like this, but it’s rarely done this well.


4). Qafsiel, ‘The True Beast’ (London, UK)

 
The band have self-tagged themselves as blackgaze, and I get that this might appeal to fans of that genre somewhat, but truth be told there’s a lot more going on here, and none of it strikes me as Alcest or Deafheaven worship. So what is going on here? It’s dense and heavy for a black metal band, and the atmosphere here comes across as more powerful than the more delicate vibe you tend to get in a blackgaze band. Really, this is current day atmospheric black metal that should appeal to folks to like a band like Mgła as much or more that it does a fan of Lantlôs or the like.

5). Codex Daemonicum, ‘Doctrines of the Fallen’

    
Simplified in a similar manner to Svältvinter, though much more atmospherialc bent overall, is Codex Daemonicum. These riffs will often straddle the fence that resides between prime 90s Marduk and ‘De Mysteriis Dom Sathanas’. The songs immediately feel familiar, but with a character of its own. As with our last band, the name of the game here is immediacy. Codex Daemonicum seems content to let their classic 2nd wave guitar work take center stage, as the vocals are drowned in reverb and mixed quietly enough that they take a back seat to almost everything else going on. It’s a unique tactic for a band that favors this specific black metal sound, but it works well here. Bonus points to Blood Harvest for having two strong releases come up in one week like this.

6). Solitary Key, “Sulphosfurous”



Raw, lo-fi, punk-ish, and dripping with schlocky charm, Solitary Key are probably the most fun album on the list this week. The key (sorry) here is the purposefully cheap-sounding keyboards, which give the whole thing an almost cartoonishly spooky feel; the stuff of local horror hosts’ late night movie marathons, rather than something more stoic and grim.The riffs here are catchy as can be, with Solitary Key feeling like the kind of band that would fit in nicely on a bill with Carpathian Forest or Emperor in their demo years.

7). Mythic Dawn, ‘En Svunnen Tid’ (Sweden)




To get right to the point: this stuff is super by-the-book. It’s so basic that I’m having a hard time explaining why I’m so drawn to it. There’s something powerful in being this doggedly committed to a subgenre’s orthodoxy. Its black metal stripped down to only its essential core elements. Fans of Darkthrone, Judas Iscariot, etc. have a good shot at enjoying this. It’s cold, fuzzy, harsh, and unabashedly grim, and that’s more than good enough for me!

New Pre-Orders:

8). Dauþuz, “Des Zwerges Fluch’ (25th of August)


With so much to talk about from the albums released this week, I felt it necessary to focus on just one pre-order this time around, so I’m going with Dauþuz. Naturmacht Productions released the band’s excellent ‘Die Grubenmähre’ last year, and they’re already back with a new release next month. It’s the same sort of powerful, pitch black melancholy that made ‘Die Grubenmähre’ so great. In fact, if I’d heard it before the end of the year last year, it would have almost certainly made my year end list. The track we can stream now bodes well for ‘Des Zwerges Fluch’ in 2018!


Thursday, 12 July 2018

RECORDS OF THEIR YEARS....with Joe Rowland of Pallbearer



Few bands have had quite same impact as Pallbearer over the last 6 years. New LP “Heartless” saw the Arkansas quartet complete their journey from underground doom heroes to all-conquering titans of the genre.  Nearly 18 months after the release of “Heartlesss”, Pallbearer have toured relentlessly and perhaps when it was thought there was nowhere else to roam, the band are set to hit the UK this coming Monday 16th July 2018, with five dates including a spot at Bloodstock. Recently I caught with Joe Rowland (bass) from the band, to discuss music, (what else) but more importantly albums from his birth to the present day.  Check it below.  



SL: Favourite album from the year you were born?


Joe Rowland: I had never really kept mental tabs on this so I had to a quick internet search, and much to my delight I discovered a few that certainly rank very highly (Jesus and Mary Chain’sPsychocandy’, Sisters of Mercy’s ‘First and Last and Always’ and ‘Hounds of Love’ by Kate Bush) but there is a clear winner here for me: ‘No Jacket Required’ — I am and always will be an unabashed Phil Collins fan.  Starting with my dad showing me a live Genesis tape when I was a very young child, I immediately developed an affinity for his music, and I can’t even count how many times I’ve listened to this album. I don’t care if it’s not cool, as seems to be the pervading opinion nowadays. Phil Collins forever! 

SL: First album you bought with your own money?



JR: The first album I bought was a CD of some classical music. I don’t even remember what it was! At that point in my childhood it had been determined by the powers that be that it was against the rules in my household to listen to anything other than classical music. Once I had my driver’s license all bets were off though, and I committed the ultimate act of rebellion by going out and buying ‘My Own Prison’ by Creed on CD. Bonus answer, my first vinyl album that I purchased not too terribly long after that was ‘The Argument’ by Fugazi, which I’m pleased to say is significantly less questionable (although Creed is still good for a laugh from time to time, I’m not going to lie!)   

SL: Favourite non metal / rock album?




JR: This is a tough question… and my answer will possibly also be my answer to the following question as well. I’d have to go with ‘Hosianna Mantra’ by Popol Vuh. Popol Vuh is my personal favourite and overall most influential artist I would have to say. This album, despite not having my #1 Popol Vuh song on it, is utterly transcendent and I strive to inch closer and closer to making music that is as emotive and affective as this album makes me feel. 

Runners up (at the moment)

Popol Vuh, ‘Heart of Glass’
Brian Eno, ‘Ambient 4: On Land’
Klaus Schulze, ‘Moondawn’

SL: Favourite album of all time:




JR: I’ll mention my favourite METAL and Rock albums of all time here: 

For metal, it’s ‘Mob Rules’ by Black Sabbath. It’s perfect, I love everything about the riffs, Dio’s performance, Geezer’s bass playing and tone are 10/10. It’s just a great record that has a lot of “fuck yeah” gratifying moments on it. It’s also one of the greatest records to have drunk singalongs to! It’s an emotional rollercoaster, especially ending on the massively sorrowful ‘Over and Over’


For rock, it’s ‘Red’ by King Crimson. This almost defies explanation; it’s such an interesting record, I remember first listening to it and kind of marvelling at how raw it is. Three of the greatest players in relatively recent history, playing what to me is truly emotionally primal music. It’s not polished, but it is very real. It sounds to me to be quite different from the opulent and grandiose sound achieved by many of the other figureheads of prog rock of that time perhaps even rock and roll in general in 1974. There is just something much more mean at work here. And it’s also got that same sort of tragic ending that I enjoyed in equal measure on ‘Mob Rules’


SL:Favourite album of 2018?

JR: It hasn’t been released yet, but I’ve heard the new Deadbird album coming out on 20 Buck Spin, and it is easily my favourite thing I’ve heard this year. 

SL:...And finally The last album you bought?



JR: I recently picked up vinyl copies of Craig Leon ‘Nommos’ as well as Steve Roach ‘Empetus’ (two great 80’s synth records if anyone is curious.) Sadly I have not had the chance to spin them on my home hi-fi system yet, but I’m looking forward to some time off the road to immerse myself!

Pallbearer will be touring the UK from July 16th - 19th – tickets are available HERE.

July 16th – London, The Underworld
July 17th – Glasgow, Stereo
July 18th – Leeds, Brudenell Social Club
July 19th – Bristol, Fleece
Aug 12th - Bloodstock

Their latest album 'Heartless' is out now HERE + brand new single 'Dropout' HERE

Band info: official || facebook