InRetrospect - current_state. - EP Review

InRetrospect - current_state. - Independent

Track List:

1. substrate.

2. current_state.

3. deadweight.

4. safe_haven.

5. eclipse.

6. counting_days.

The UK's InRetrospect is everything I want in my modern metalcore bands, and I hope it's the same for you. When I was first introduced to the band, I felt it from the first note and pound of the drums in the track 'safe_haven.'. Luckily, that feeling continued throughout InRetrospect's singles and their new EP 'current_state.'. I'm sure everyone can think back to some staple introduction EPs in the scene (I'll wait), and after listening to 'current_state.', I'd be hard-pressed not to name it as a great new edition to that list.

The band mixes modern metalcore genres with ease. There are many metalcore staples throughout the EP, including growl screaming, pretty choruses, and chugs (of course). But when these elements are not only done right but expanded upon, you can't help but take notice. There's also some programming/electronics, but it's kept to a minimum to add to the atmosphere. But, again, that's a veteran move from a relatively new band. InRetrospect is a band that feels polished like they've been around longer than they actually have.

The entire band is technically sound, but I'd be remiss if I didn't mention their vocalist Nathan Biddles. Nathan is covering the singing and screams in the EP seamlessly. Not only that, he's covering multiple styles of each style with the range to pull it off. It's a pretty impressive feat while keeping the music exciting and far from stale, which can sometimes be an issue in modern metalcore. From the music videos available, the vocalist also has a presence that must make live performances stand out. Even as a relatively new band, the sound is crisp, well-produced, and not oversaturated.

Each track brings something new to the EP. The intro track 'substrate.' fades in slowly and starts with impassioned singing before bringing in screams for the first time, layered with some great riffs and back and forth vocals dynamics. Then, a track like 'deadweight' hits you quickly with a faster tempo and low screams into a catchy melodic chorus. Throughout the EP, there are plenty of melodies and hard-hitting instrumentation. Soaring vocals and brutal lows. The lyrics are passionate and can often get caught in your head. You could easily see yourself singing along live and jumping in the pit the next second. It's cliche, but there really is something for everyone here.

'current_state.' gives a taste of what the band is capable of, but it leaves the listener craving more as it comes in at 6 tracks in total. Of course, that's not a bad thing to keep people's attention, and what's also nice is that the EP has replayability. Each song/single can realistically be added to any metalcore playlist for repeat listens. I can't help but look forward to the next outing by InRetrospect.

InRetrospect's new EP, 'current_state.' independently comes out on June 10th. Make sure you support InRetrospect by visiting the following links:

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Seek Harbour - Far From Home - EP Review

Seek Harbour - Far From Home - Independent

Track List:

1. Dagger Like Eyes

2. Wolves

3. Far From Home

4. TY (FBMH)

One of my favorite parts of being an independent music outlet is finding and being introduced to new bands in the scene. I'm sure many think that with the internet, how could you not easily find every band that makes music you like? But it happens, and sometimes it happens because there are separate scenes in other countries. That's where Seek Harbour comes in. Seek Harbour will release the entirety of their debut EP, 'Far From Home,' independently on Friday, April 8th.

Seek Harbour are a post-hardcore band from Kent, located in the UK. But it's probably a little too easy to say they're "post-hardcore," as Seek Harbour adds a few genres to the mix, including some pop-punk sensibilities and hardcore-style screamed vocals in their dual-vocalist band. Nevertheless, it's a fascinating and exciting combination, primarily because the band has a sturdy melodic post-hardcore backbone.

The band has been releasing tracks from the debut 'Far From Home' EP since 2021 but will culminate with the emotional finale 'TY (FBMH),' which I believe stands for "Thank You (For Bringing Me Here)" on Friday. The song is very melodic and especially catchy in nature. The screams (or uncleans) are minimal, but the passion is still at the forefront. This is often the way Seek Harbour handles the song structures in 'Far From Home.' The instrumentation is often very clean. The singing and screaming switches are placed up front in the mix. Thankfully, they are not muddled in the production, which can often be the case in these genres.

Throughout the EP, Seek Harbour creates an intoxicating atmosphere that drives anticipation for what's coming next. The mix between singing and screaming is varied and keeps the listener's interest without becoming stagnant. The instrumentation follows precisely as needed by complimenting the atmosphere and adding the appropriate flair. For a debut EP, 'Far From Home' certainly doesn't show it.

Even though the debut EP is relatively short. At four tracks totaling nearly fourteen minutes, Seek Harbour has made a cohesive EP saturated with so much passion and emotion that repeat listens aren't just demanded; they're needed. So make sure 'Far From Home' and Seek Harbour are on your radar this Friday and in the future.

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The Plot In You - Swan Song - Album Review

The Plot In You - Swan Song - Fearless Records

Track List:

1. Letters To A Dead Friend

2. Fall Again

3. Face Me

4. Too Far Gone

5. Paradigm

6. Both To Blame

7. Too Heavy

8. Enemy

9. Whole Without Me

10. Freed

When I spoke about Landon Tewers last (and before that, too), I reviewed his previous solo release, 'Frontal Lobe Submission.' I started the last couple of reviews by saying, "This is Landon Tewers, not The Plot In You." Now though, I finally came to the conclusion that there's no separation. Landon IS The Plot In You as much as he's a multidimensional solo artist. 

This is as evident as ever, even in the beginning of the journey through 'Swan Song,' the fifth full-length album from Landon and The Plot In You. The opening track, aptly titled 'Letters To A Dead Friend,' sounds, for the first minute and a half, or so, like Landon's solo material. Another track, further along in the album, sounds familiar to his side-project Ai640. And you begin to realize that he's able to blend so many genres/projects/styles into a seamless tapestry that is undeniably ahead of the curve. Ahead of the curve and ahead of any of the current trends stagnating certain bands in scene music.

The album is undeniably dark. As I mentioned previously, the first track's title should give that away. In tune with that, a deeper dive into the lyrics will strike a chord few have the ability to in modern music. As the down-tuned guitars build anticipation and the raspy screams begin, Landon's haunting confessions of sorrow and self-reflection mentally shred you. This is often the case in each new track of the album. Landon expresses so much passion in gutwrenching stories of loss, separation, relationships with others, and relationships with himself that it's tough not to look inward and evaluate your own past experiences. Each track holds a specific weight and significance.          

In contrast to the album's lyrics, the instrumentation paints with a broader stroke. Electronics are used in unique and exciting ways that won't become tiring, overplayed, or cringe-inducing. More pop-inclined tracks sound in contrast to their lyrical content at times but don't sound forced or contrived. And then there are the "heavier" tracks that showcase dynamic mixes of melodic and angst-ridden singing and screaming. If you want to hear some of the better passionate and heartfelt screams in the scene, you'll find a multitude in 'Swan Song.' 

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Capstan - Separate - Album Review

Capstan - Separate - Fearless Records

Track List:

1. pretext

2. shades of us

3. take my breath away noose

4. alone (feat. shane told)

5. blurred around the edges (feat. saxl rose)

6. tongue-biter

7. abandon

8. shattered glass

9. sway (feat. charlene joan)

10. decline

When I look at the scene's landscape, especially in the category of post-hardcore bands, Capstan is still a relative mystery. And they're a mystery in a couple of ways. First, they've been making progressive post-hardcore for a while now, but they're still able to mix up their sound and keep you on your toes. Second, even though they're on a famous scene label, perhaps the most popular, at this time, they're still seemingly separate from the pack.

Perhaps, that's partly where the title of their sophomore full-length album title 'Separate' comes from. If so, it shows a band capable of deeper insight and self-awareness than many in a similar position. However, with 'Separate,' Capstan is in a challenging situation. Do they continue where EPs and their last full length (‘Restless Heart, Keep Running’) left off, championing melodic post-hardcore? Or do they add in some other popular genres and follow some of the current trends? The lure of that balance can be treacherous and has led many bands to tip the scale in sometimes unfavorable directions.

After listening to 'Separate,' though, Capstan has skillfully navigated those perils and come out the other side with another excellent addition to their discography. It has everything you want from the band, progressive and technical instrumentation, passionate screams, melodic singing, and great storytelling. But, they also stepped out of their comfort zone with a few tracks on 'Separate.' 'take my breath away noose' may be their most giant leap so far. The track sounds momentarily out of place, with a jazzy hook and pop feel. But instead of going full trend, the technical instrumentation is still there. It shows that the band has a ton of range available (and probably even more still to come).

But that isn't all. The choices to "separate" themselves from the pack can be heard in tracks like 'alone,' where the heaviness in the track is balanced throughout with a very catchy chorus. Still, when a clear opportunity for a "standard" breakdown appears, Capstan changes their sound up and falls into a beat instead. It'll be interesting to see how that track is played live, for sure. The band features a few artists as well to mix things up. First, Shane from Silverstein makes an appearance in the before-mentioned track. Later, Saxl Rose and Charlene Joan add their unique touch to their songs, differentiating and diversifying styles. All bringing something more to 'Separate.'

The point of music isn't to only find something "new" and latch on because it's...well, "new". But, when a band adds more dimensions to their sound and does it well, THAT'S when it's worth paying attention to. Capstan has continued to evolve as that band. They've always had a niche sound, but one that can consistently be expanded upon. The "heavy" is there. The melody is there. Every member is highly talented in their place in the band. Each has many moments to shine in 'Separate.' Capstan is a band that consistently impresses, and 'Separate' is another culmination of that talent that people should be paying attention to.

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Wither Away - I Won't Find Hope In You - Album Review

Wither Away - I Won’t Find Hope In You - Independent

Track List:

1. April (Spring Is Coming)

2. Kagune (Ruin Me)

3. Shadow Form

4. I Won’t Find Hope In You (Feat. Ricky Armellino of HAWK) - Single

5. The Town Where Only I Am Missing

6. Persona (Feat. Hotel Books)

7. Dark Room

8. Cherish Your Friends - Single

9. Stigmatized

10. Your Name.

After four years, Reading PA's Wither Away has returned with an ambitious follow-up to their debut EP. This time, they demand to be heard, and I recommend you listen. 

Right away, an interesting note when it comes to the visual representation of Wither Away, in most cases since the start of the band, a pagoda has been a strong structure utilized in their first singles to their debut EP 'The Words We Live By, The Actions We Don't Take.' But now, on the cover of 'I Won't Find Hope In You,' the pagoda is set ablaze. Is it now a symbol of the desecration of inner peace, the destruction of what we believe is valuable in this world, or destroying that part of you that was holding you back? 

It's challenging to put Wither Away into a musical category because they utilize multiple genres very well. At times, there are flashes of an emo-rock band, melodic post-hardcore, or even alternative rock. But what does it all really mean? Really, it means they're comfortable making whatever music they want, and it shows in IWFHIY. From the instrumentation moving from melodic to aggressive to the clean (singing) vocals to out of nowhere uncleans (screams), Wither Away keeps you on your toes and, more importantly, keeps your attention. JJ's vocals are strong while showing weakness in the storyline while weaving multiple vocal disciplines into a cohesive story. The instrumentation is dynamic, drives when needed, and creates an atmosphere integral to making that comprehension through the album.

Tracks range from discussions, almost conversations asking questions of depression, religion, and does belonging even exist? The fourth wall is even broken in the track 'I Won't Find Hope In You' as you're told, "I wish that I was only writing lyrics when I said that I don't like having fun. Depressed but now I see there's beauty in this melody". I recommend listening to the album while reading the lyrics to capture any nuances that may have been missed.

In the track' Stigmatized,' JJ repeats lines towards the end of the track with the solo backing of guitar-only in a melodic fashion. More instruments join in, and JJ's vocals become more pleading and emotional. He screams, "You're dead to me," his last line and almost every other band would kick everything into high gear to either restart the chorus or get one more semi-breakdown squeezed in, but Wither Away doesn't, and instead, play out more melodically and calm. That's confidence in one's musical direction. 

That's one of the keys to IWFHIY, confidence. In every facet, Wither Away has made an engrossing album built like the pagoda with confidence. Confidence in their musical ability to draw you in, keep you on your toes, create an atmosphere, and tell a compelling story.

Not only did Ricky Armellino (HAWK, Ice Nine Kills) mix and produce the album (a fantastic job of keeping tone and ambiance), but he also added his featuring abilities, as did Hotel Books. Both features add an extra layer to the dynamics of IWFHIY and fit in nicely. The only things that ever felt out of place were small autotuned pop flourishes in the final track 'Your Name.'. It's nothing that would ruin the track; it just feels out of place with the tone of the rest of the album.

I have been a fan of Wither Away since their debut EP, but they added another dimension to their abilities with 'I Won't Find Hope In You.' The album's flow is precise, layered, and the balance of singing and screaming is unrivaled. You'll never feel like you're worn out or following the same template set by others. The band has genuinely made something personal of their own and shared it with an audience.

Wither Away has done anything but, with their new full-length release, 'I Won't Find Hope In You.' Make sure you listen and support them. 

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Convictions - I Won't Survive - EP Review

Convictions - I Won’t Survive - EP - Independent

Track List:

1. The War That Followed Me Home

2. Wreckage

3. The Price Of Grace

4. Teeth

5. Hurricane

6. Everything I Never Told You (Instrumental)

7. Last Cell

Is the scene ready for blistering metalcore therapy? With their new EP, Convictions certainly believe so, and I tend to agree.

Somewhat fresh off their separation from InVogue Records, the newly independent Christian metalcore band Convictions have created a mixture of heavy music and pure emotion that may not have been accomplished before (or maybe not accomplished as well). There have always been tales of sadness in metalcore, that’s well-worn territory, and some bands do it very well. But Convictions haven’t created a concept album of relationship heartbreak (just heartbreak of a different kind). 

Through two years, Convictions performed a series of interviews with friends, family, and fans (maybe somewhat indistinguishable from each other at this point), covering personal stories of survival. The topics range from cancer to suicide, and each track, as you might imagine, hits hard. And in this case, I’m not talking heavy, even though they definitely are. In fact, this may be the heaviest Convictions has been so far in their career. Lead vocalist Mike Felker says it best, “I want to be heavy with intent.” Truer words have never been spoken in this case.

One of the significant parts of ‘I Won’t Survive’ is listening to the instrumentation, dynamic ebbs, flows, and deeply personal stories. You can tell that Convictions chose stories to share that are universal. With all the awful things that can happen in life, there’s a high likelihood that you’ll relate directly to one or more of these tracks. With that connection, the hope is knowing that there are ways to survive that pain and come out the other side stronger, as the people interviewed did. But, if that’s not your style, and you just want to mosh and bang your head, Convictions’ have you covered as well. You can just zone out and let the music do the rest. There’s no way this doesn’t play well live when shows return.

‘I Won’t Survive’ opens up with the single ‘The War That Followed Me Home. A story of PTSD layered with metallic accents, low lows, and a surprisingly catchy chorus for the topic, but that will be a running trend throughout the EP except for the track ‘Teeth’, which is settled right in the middle of the release and is easily the heaviest. No singing/clean vocals, just pure anger. Though it does boast what may be the most positive lyric of the EP, “Through our suffering, we are all connected.” Felker also states that’s it’s almost a summary of the EP and what brings the concept together. 

‘The Price Of Grace’ covers the topic of suicide, something that happened recently to a Convictions’ fan. The story is told by another Convictions’ fan who plays a massive part in the track by adding lines that the band placed in the song itself. In his own words. In his own voice. It’s heartbreaking and beautiful at the same time. It’s so well done in the song that you wouldn’t be able to imagine it without it once you’ve heard it. 

Even though Convictions believe this to be possibly their most polished release, working with such an accomplished producer in Andrew Wade (responsible for many scene band’s sounds including A Day To Remember, Motionless In White, and The Ghost Inside, just to name a few) will undoubtedly make that accurate. Still, the album has a raw feeling to it as well, at least in my opinion. And “raw” doesn’t mean “produced poorly” or “lazy.” Maybe it’s how the lyrics hit, perhaps it’s how the vocals land, or maybe it’s the overall combination of everything together, but that “raw” feeling is precisely where it should be. Even with the instrumental track, this is an extremely hard-hitting release on every level. 

Here’s the business side of things. “I Won’t Survive” is a considerable achievement for Convictions and a statement release for a newly independent band. It’s entirely possible that with the support of loyal fans, this could be one of Convictions’ most significant releases, but even if it isn’t, any label who hears it shouldn’t let them stay independent for long. 

And here’s the conclusion. “I Won’t Survive” can be an extremely emotional album. The conversations brought to life are deep and meaningful, and there’s the absolute chance that listening to these songs will be therapeutic and cathartic for many. The connection achieved from band to listener is stronger, possibly than ever before. “I Won’t Survive” is the manifestation of how important music can be. This is an absolute must-listen not only for any metalcore fan but for anyone who wants to hear passion and conviction in their music.

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While She Sleeps - SLEEPS SOCIETY - Album Review

While She Sleeps - SLEEPS SOCIETY - Spinefarm

Track List:

1. ENLIGHTENMENT(_)

2. YOU ARE ALL YOU NEED

3. SYSTEMATIC

4. NERVOUS ft. Simon Neil of Biffy Clyro

5. PYAI

6. KNOW YOUR WORTH (SOMEBODY)

7. NO DEFEAT FOR THE BRAVE ft. Deryck Whibley of Sum 41

8. DIVISION STREET

9. SLEEPS SOCIETY

10. CALL OF THE VOID ft. Sleeps Society

11. DN3 3HT

If you don't enjoy CAPITALIZATION, While She Sleeps may not be for you...(kidding, of course)

In their highly-anticipated follow-up to 2019's 'SO WHAT?', Sheffield UK's While She Sleeps seems to not only draw inspiration from their fans but have also created an album specifically for them.

That's not to say that 'SLEEPS SOCIETY,' the new album by While She Sleeps (WSS), can't, and won't, be enjoyed by many, it's just that the very name of the album is the name given to supporters of WSS. Not only is 'SLEEPS SOCIETY' the name of the album, but there's also the title track, and in the track' CALL OF THE VOID,' Patreon supporters of WSS make an actual appearance. If you ever felt like a band created music for you and only you, it might actually be true in this case.

WSS has gone through some significant changes over the years. There have been label structure changes, CAPITALIZATION, but also massive changes in sound. 'SLEEPS SOCIETY,' WSS's 5th full-length album, is a more refined, maybe sharper update to 'SO WHAT?', but they're both very different from 'You Are We' or 'Brainwashed,' for instance. 'SO WHAT?' started the capitalization trend and added a significant amount of electronics and genre shifts. Anyone expecting a straight-up metalcore band, I've got news for you; this isn't them. 'SLEEPS SOCIETY' continues the direction of 'SO WHAT?' with more of a mixture of electronicore, metalcore, nu-metal, and alternative rock.

The start of 'SLEEPS SOCIETY' is pretty unique in that it isn't a short intro track, and it isn't a single. It's actually five minutes and three seconds long, which is a rather long intro in most cases, but it keeps the listener's attention right away, which can be challenging to do with a track that long. 'ENLIGHTENMENT(_)' begins with an uplifting spoken-word call to arms that transitions into a fun guitar riff and hard-hitting instrumentation. The mixture of clean (singing) and unclean (screaming) vocals haven't changed and add a catchy balance, especially in the chorus. The track showcases everything you'll hear in the rest of the album from mixed breakdowns, progressive guitar, uplifting lyrics (albeit with an edge), and heightened genre mixing.

The tradition continues with the following tracks 'YOU ARE ALL YOU NEED' and 'SYSTEMIC.' It'll be tough to not bob your head in unison and imagine how well these tracks will play live when live shows are back. The tracks start furious with quick pacing but then pull back to give the listener a breath before hitting them hard again. "SYSTEMATIC' also really plays well as an updated nu-metal sound.

Things slow down in a way with 'NERVOUS,' a single released earlier and the first track to have a feature. Simon Neil does an excellent job of adding an extra layer to the vocal style of Loz, and the track balances the heaviness and melody well. That's definitely a theme as the album progresses. As mentioned before, there's a lot of genre mixing, emphasizing nu-metal additions, which play well when combined with a metalcore backbone.

'DIVISION STREET,' besides the interlude, is the first significant departure in the sound of the album. It's a piano-backed sing-along that I imagine would be an excellent intermission song live. Easy for fans to sing along to while giving the band a much-needed break. And just like that, it's back to the WSS's sound for the remainder of the album. 'CALL OF THE VOID' could play well on alternative rock radio and could easily be a closing song in a live set. It's anthemic, passionate, and once again, speaks directly to, and with, the listener. But it's also a trick ending...

The final track' ND3 3HT' isn't necessarily a song, but more the band stripping things down and speaking directly to the fans. With the piano in the background and the band members' voices distorted like an old-school, incoming transmission from outer space, the members describe their personal feelings and give their thanks. The track lasts seven minutes and three seconds and may not be one that many listen to again, but for the long-time and biggest fans, this track will mean a lot and have multiple repeat listens. For While She Sleeps, this is the most fitting end to 'SLEEPS SOCIETY' I can imagine.

'SLEEPS SOCIETY' probably won't bring back any fans While She Sleeps might have lost through their changes in sound over the years, but that wasn't the point of the album. With the refinement to 'SO WHAT?' in 'SLEEPS SOCIETY,' While She Sleeps seem to have found precisely the sound they want, but more importantly, the fan base they need. So far, While She Sleeps may have the most interactive band/fan relationship, it seems to bring out the best in the band, which is all a listener can ask for. 'SLEEPS SOCIETY' is a passionate, hard-hitting, dark, uplifting, and possibly a fantastic album to play live. Time will tell, of course, but until then, 'SLEEPS SOCIETY' is an "ode to the fans" that has long-lasting appeal to anyone in the scene.

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Softspoken - Where The Heart Belongs - EP Review

Softspoken - Where the Heart Belongs - EP - Independent

Track List:

1. Sleight of Hand

2. Bones

3. Where the Heart Belongs (featuring Alexia Rodriguez of Eyes Set To Kill)

4. Realign

5. The Road

One of the scene's current trends is for bands to go in a more "pop" direction by taking out or reducing unclean/screaming vocals or adding electronics. One band shaking that notion and forging their path is the band Softspoken out of Kentucky. With their new EP 'Where the Heart Belongs,' Softspoken joins a much smaller group of bands that have added a sense of aggression to their already melodic post-hardcore sound.

Softspoken has always had the melodic part of their post-hardcore style down with previous releases' Pathways' and 'Deaf Perception.' 'Where the Heart Belongs' is no different in that aspect. 'Sleight of Hand' was the first single released back in 2020, and right from the downbeat, you might think you're in for something different. By the second verse, the unclean (screaming) vocals rip through, and you KNOW this is going to be something different from previous iterations. The back and forth between unclean and clean (singing) vocals are balanced very well, and nothing comes off as overwhelming or cliche. 

The EP continues this tradition with some semi-progressive instrumentation, fun riffs, and passionate vocals. From the beginning, Softspoken creates an atmosphere of anticipation that compels you to continue listening all the way through while finding even more moments of connection. There are plenty of times where you'll find yourself singing along with the thoughtful and catchy lyrics and then simultaneously bobbing your head to a catchy beat or banging your head to a drop/breakdown. It's a collection of music that demands multiple listens to pick up on everything you may miss the first time around.

In another unique move in the scene, Softspoken has made the EP available for purchase now while releasing tracks monthly to streaming sites. It's a novel idea, especially since bands' direction seems to focus on only single releases without an EP or album follow-up. It allows fans to support Softspoken and enjoy the entire EP's story or wait for the releases over time. 

For anyone missing the early incarnation of the 'Slaves' sound, Softspoken continues the tradition of passionate and melodic post-hardcore while making it their own. Front to back, 'Where the Heart Belongs' showcases Softspoken's range. Even though the band has released two full-length albums previously, this third release shows that "maturity" doesn't have to mean "stale." There are so much talent and potential in Softspoken, and it's exciting to imagine what could come next. Keep your ears open because you won't want to miss it.

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A Scent Like Wolves - Mystic Auras - Album Review

A Scent Like Wolves - Mystic Auras - We Are Triumphant

Track List:

1. Pink Dawn (intro)

2. Eastern Lights

3. Telephone

4. Bloom (feat. JT Cavey of Erra)

5. Poison

6. Midnight Eyes (interlude)

7. Deja Vu (feat. Mattéo Gelsomino of Novelists + Sal3m)

8. Death Effect (feat. Brian Wille of Currents)

9. Dissolve (feat. Booka Nile of Make Them Suffer)

10. Aquamarine

Just shy of three years, A Scent Like Wolves return with their sophomore album 'Mystic Auras,' but does it run with the pack or lead the hunt?

Hailing from Reading, a small town in PA, A Scent Like Wolves (ASLW) have continually refined and molded their sound since their debut full length, 'And The Story Goes' in 2013. 'Mystic Auras' continues that tradition with mixtures of post-hardcore, metalcore, and progressive metalcore elements. Not only that, they're one of the few remaining pure dual vocalist bands in the scene. That means 'Mystic Auras' showcases intertwining clean and unclean (singing and screaming) vocal performances from brothers Al and Nick. From soaring highs to bellowing screams, there's plenty of diversity throughout 'Mystic Auras.'

ASLW has always been good at setting the mood in their music, and this is no different, but it's accomplished differently than in their previous material. Each track sounds different from the last while still feeling like ASLW. The musical arrangements vary, not allowing the listener to become bored, while catchy choruses and driving instrumentation keep constant interest in what's coming next. 

A unique trait of 'Mystic Auras' is the willingness to diversify and emphasize features from the scene. Utilizing features is often a missed opportunity in post-hardcore and metalcore. Unlike pop, hip-hop, and other genres, features are used sparingly, but that's not the case with ASLW. Out of the ten tracks, four have features. That's 40%! Easy math even I can do! 'Mystic Auras' boasts features from some heavy hitters from ERRA, Novelists, Currents, and Make Them Suffer! That's an impressive lineup, and each makes an impact and adds an extra layer to their track. 'Dissolve,' which features Booka from Make Them Suffer, is worth an additional note as it's the first almost ballad-style music ASLW has attempted. It certainly pays off (minus a little shoe-horning at the beginning (😜).

My only minute gripe with 'Mystic Auras' is that out of ten tracks, two of them are an intro and interlude (that's 20%). Really, it's only because ASLW always leaves you wanting more. More dual-vocals, more driving instruments, more heavy-melody. It's cliche, but you want even more of the story.

One of the best parts of ASLW when listening to 'Mystic Auras' is the feeling that they're making the music they want to make. Their music feels like the identity they want, and sometimes, that can be rare in a scene of trend followers. Even though they're very good at mixing genres, you don't feel like it's overwhelming or forced. It's a natural progression of the journey they've been on for almost ten years. In that way, they'll always be leading their own pack with 'Mystic Auras.'

Make sure to support A Scent Like Wolves by pre-ordering ‘Mystic Auras’ and following/listening at these links:

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Landon Tewers - Frontal Lobe Submission - EP Review

Landon Tewers - Frontal Lobe Submission - EP - Independent

Track List:

1. Gospel Therapy

2. Kill Me

3. Fuck Pacing

4. Gave My All

5. Just Talkin

6. When I’m Gone

When I spoke about Landon Tewers last, I reviewed his previous solo release 'Withdrawals.' I started the review by saying, "This is Landon Tewers, not The Plot In You." The same holds true here, so I felt it bears repeating. Landon's solo material usually is very different than anything he's done with The Plot In You previously. But this new release, 'Frontal Lobe Submission' (referred to as FLS as we continue), is also different from 'Withdrawals' and continues the dynamic shifts of Landon's varied music career in a pretty significant way.

FLS begins with the first single, 'Gospel Therapy,' which sounds like it could be a b-side of 'Withdrawals.' It's an interesting dynamic as the song starts as one genre and quickly morphs into a bouncy, funky-groove. You know it would get people moving at a live show. It has that element of surprise during the track's evolution that puts you on your back foot. It asks the question, what can possibly come next?

That "next" is the second single, 'Kill Me.' It's a very catchy song when the chorus crashes in, especially for a song begging for death. It's a full and upbeat song you might not be expecting based on the lyrical content, but one you'll find yourself singing along to quickly. The song features the popular Rory Rodriguez of Dayseeker as a great compliment to this melodic and passionate track.

'Fuck Pacing' changes everything up once again as it seems like it belongs in a movie feeling similar to 'Stand By Me.' Then the beat kicks in, and if your shoulders aren't moving, you must be in a confined space. This track features Gabbie Hanna as a duet, and it's exactly what the track needed. The extra layering compliments everything even before the horns kick in. 

Another sing-a-long track is next in 'Gave My All.' Acoustics drive the pace, and some screaming vocals give the song the extra grit it needs. This will be up there with 'Kill Me' soon enough.

'Just Talkin' probably has my favorite line in this EP: 

"...I will never stay consistent. 

No, I will never

No, I will never think the same."

I feel like that line capitulates Landon, especially when it comes to his music projects and prowess. The beat in this track doesn't even come in until around the second minute. The song continues with an R&B/Hip hop flair that culminates with a very, very strange "child" speaking at the end. It wouldn't be Landon without some weirdness, haha. 

The final track, 'When I'm Gone,' could easily be used in a movie where the main focus is hipster drama. It sounds like the perfect suicide note put to music, but the track isn't depressing; the instrumentation lingers on the positive, almost hopeful tone. It's not the cookie-cutter sad acoustic song at the end of the emo/pop-punk album, and it leaves you wanting more. 

If you take out 'Gospel Therapy,' FLS sounds more focused this time around. It'll depend on your tastes what type of Landon's material you gravitate to most. Still, he always has a way of making everything sound unique. Each release is exciting because not only do you have to stay on your toes, but there's also an abundance of quality that goes with everything Landon does. Start your year off right with 'Frontal Lobe Submission' and listen to Landon Tewers stay consistently inconsistent in the best way possible.

‘Frontal Lobe Submission’ comes out Friday, January 29th.

Pre-order/order ‘Frontal Lobe Submission’ and more, by following the links below:

Landon Tewers - Website (Pre-Order)

Landon Tewers - Twitter

Landon Tewers - Instagram

Landon Tewers - Facebook

HAWK - Tolerance's Paradox - EP Review

HAWK - Tolerance's Paradox - EP - Independent

Track List:

1. CLVRMFKR

2. Mileage (1st Single)

3. King With No Survivors

4. Alibi (3rd Single)

5. Counter Ops (2nd Single)

6. Universes

HAWK's debut EP 'Tolerance's Paradox' is undoubtedly no paper tiger.

December can often be a strange time to release music, and with a global pandemic to boot, this December could be the most bizarre yet. In our music scene, one thing that has always baffled me about November and December is that many people already have their "best of the year" lists completed. Nothing is ever in concrete, I'm sure, but every year there's bound to be a surprise release that, for lack of a better cliche, comes out of nowhere. This December is no different as HAWK releases their debut EP 'Tolerance's Paradox' TODAY!

For anyone unfamiliar with HAWK or want some backstory, HAWK is the "evolution" of This Or The Apocalypse (TOTA). "Evolution" is in quotes because HAWK seems to be the manifestation of a band that learned many lessons over its' four full-length album career. After many labels, personnel changes, and sound changes, HAWK has emerged with no label, two original members (Ricky Armellino and Jack Esbenshade), and their debut EP of catchy, post-hardcore/alternative tracks, one of the most exciting and unique of 2020. 

(PS - Drawing a blank? You may have seen Ricky playing guitar and singing back-up for Ice Nine Kills in recent years) 

Even the EP's title, 'Tolerance's Paradox,' is thought-provoking. Knowing the lead vocalist Ricky Armellino, it could mean any number of things:

1. Is it a play off of philosopher Karl Popper's paradox of tolerance, which, to paraphrase, is the concept that to be a tolerant society, you must be intolerant to intolerance?

2. Is Tolerance a person's name, and they have a paradox?

3. Is it just a cool title?

4. Insert more ridiculousness here.

I'm willing to go out on a limb and say that I think it's the first one, and not necessarily because it seems intellectual, but because the saying is often applied to a political climate, and more than one track in this release can be interpreted as political. At least one track (Track 5 - Counter Ops) is blatant in its political message of insurgency. But that's not all the release is, nor should you be "turned off" by music that may have a political statement. Come on; this has Ricky screaming and singing. How can you go wrong?

Each track is uniquely it's own. Today's scene bands may make a "heavy" album that gets them popularity and then completely switch to a "softer" genre on their next release, but this isn't what HAWK has done here. They've mixed genres but made each track so different from the next while still being HAWK. That's not an easy feat to accomplish, especially for a band going through a brand revamp. HAWK's strength comes from mood changes, turn of phrases, and dynamic shifts, while still being cohesive. Each song is catchy in different ways, which keeps the listener interested in a very dense and congested scene. Even the three singles released previously (Mileage, Counter Ops, and Alibi) are tracks you won't want to skip while listening to the entire experience.

From an almost spoken-word opening with a bleeped-out expletive to a Dayseeker-esque closer, 'Tolerance's Paradox' keeps you captivated from front to back and is the perfect introduction to new fans and fans that loved TOTA alike. One thing I can say for sure, 2020 might have been a shit year (for many reasons), but as far as music goes, with the addition of 'Tolerance's Paradox,' 2020 is ending the right way, and the future is nothing but bright.

Make sure to support HAWK in all they do by following the links below:

HAWK - Website

HAWK - Facebook

HAWK - Spotify

HAWK - Instagram

HAWK - Twitter

Tigerwine - Nothing Is For You - Review

Tigerwine - Nothing Is For You - Tooth & Nail Records

1. Anteroom

2. Technicolor Yawn

3. Scarecrow

4. Black Water

5. Salt

6. Wigwam

7. Word Hoard

8. Hiss At The Sun

9. Nothing Is For You

10. Complete

It’s been slightly more than three years since Tigerwine released their debut full-length album ‘Die With Your Tongue Out’ (Blood & Ink Records) and now in 2020, they’ve returned on a new label, but with that familiar Tigerwine sound.

But, not familiar as in, “the same album” again. Definitely not. Tigerwine has embarked on something new, yet familiar. It might sound cliche, but I think you’ll understand when you listen through. There’s no official intro to Tigerwine’s sophomore full-length release ‘Nothing Is For You’, but like many of the songs on the album, there’s a built-in intro to the first track Anteroom. It lures you in with reverberation and repeating guitar picking, which leads to...old-school feedback and distortion! It’s time for some rock! 

Hayden’s voice hasn’t skipped a beat since DWYTO. Haunting at times, delicate at others, and harsh when screaming certain notes. You can hear the passion intensify as songs build (see ‘Scarecrow’ for example). Maybe it’s just me, but the production and instruments feel like I’m in a small bar or club seeing a local rock band play their hearts out. Even though the album can be relatively atmospheric or possibly noise rock-y at times, there’s a rawness the band captures that’s often lost in today’s scene. 

Another topic of note, unlike many bands in the scene, Tigerwine take their time creating an atmosphere for their songs. Nothing seems rushed. Each track is over 3 minutes with many in the 5-minute range, the longest at 6:35. No interludes, or stand-alone intro and outro tracks. You get your breath in the lead-up and then it’s off to the races. In the track ‘Wigwam’, a little more than halfway through, the vocals float away, leaving the mood to settle into drums, guitar, and feedback. The vocals return after the desired effect has taken hold. That tone plays throughout the entirety of ‘Nothing Is For You’ and I wouldn’t have it any other way.

Tigerwine’s sophomore offering doesn’t disappoint in the slightest. While keeping elements of DWYTO, They have only added to what they’re capable of in ‘Nothing Is For You’. Less screaming doesn’t mean the element of heaviness has left, it’s just now presented in a different style. This is an album to lose yourself in, to imitate in your garage, or to take in a long and rainy drive with it as your soundtrack. Hopefully, this is only the start for Tigerwine. 

You can pre-order ‘Nothing Is For You’ following the links below. ‘Nothing Is For You’ comes out on Friday, May 1st, 2020 through Tooth & Nail Records.

Tigerwine - Facebook

Tigerwine - Twitter

Tigerwine - Instagram

Tigerwine - Store

Muri and Friends - Covers EP - Independent

Muri and Friends - Covers EP - Independent

1. Fuck I’m Lonely originally by Lauv featuring Johnny and Rory Spencer of Dayseeker

2. Good Things Fall Apart originally by ILLENIUM featuring No Dice

3. Graveyard originally by Halsey featuring Tilian Pearson of Dance Gavin Dance

4. Thanks For The Memories originally by Fall Out Boy featuring Johnny and Jonathan Young

5. Youngblood originally by 5 Seconds of Summer featuring Lauren Babic of Red Handed Denial and CrazyEightyEight

6. Party In the USA originally by Miley Cyrus featuring Surf Team

7. Everything I Wanted originally by Billie Eilish featuring Whale Bones

Bilmuri is the answer to anyone in the scene seeking something unique. Since 2016, Johnny Franck (songwriter, frontman, crabcore legend, and an all-around good guy) has had NINE releases. NINE. That’s pretty much two albums a year, which is unheard of in a scene where the turnaround for an album or EP, at the lowest, and still very rare, is at least a year. Most would be at two or three years. Impressive on its own, but as the saying goes “quality over quantity”, right? That’s where the uniqueness shines because this quick turnaround has yet to diminish the quality of the music (or the music videos, do yourself a favor and check those out). Plus, Bilmuri is not afraid to take chances in the genre department. The more recent releases are very different from the old school discography yet, still with that distinct Muri sound. Now, that brings me to what would be Bilmuri’s tenth release.

...But first a little backstory. Cover songs have a very interesting dynamic in the scene. They can be used in many different ways as an artist or a listener. Some may use them for popularity (see I Prevail), some to pay homage to artists or songs they respect. Sometimes, being called a “cover band” is a derogatory comment (see Our Last Night), but sometimes it seems like artists get their friends together, as well as artists in the scene they respect and want to work with, to have some fun and connect to a possibly larger audience and give the fans something new to check out. The latter best describes the tenth Bilmuri release and the creation of the new SUPERGROUP Muri and Friends!

Johnny has seemingly pulled together with friends he’s worked with many times in the past like Lauren Babic (Red Handed Denial, CrazyEightyEight) and Tillian Pearson (Dance Gavin Dance). Bands he’s toured with like Whale Bones. No Dice, who he collaborated with in the past to make ‘DiceMuri’. And then there are people and bands I’d like to hear the backstory of how the collaboration started: Surf Team, Jonathan Young, and Rory Spencer (Dayseeker). Maybe I’ll find out in a future podcast…(I’d also like to know how the specific songs were chosen as well).

Obviously, this is a very diverse bunch of bands and vocalists, all with different backgrounds. One of the fun parts of hearing a cover song is checking out the artist’s original music as well (definitely make sure you do that). The differences in styles give you a lot to discover. Another unique aspect of this ‘Covers’ EP is that Johnny isn’t always the vocalist and he’s never the lone vocalist. This adds more dynamics to the composition of each track and allows the other artists to shine on their own. Speaking for myself, unless a cover song is already covering something from the scene, ‘Thnks fr the Mmrs’ for example, I won’t know it unless it was absolutely everywhere, see ‘Party In The U.S.A’. So, listening through, almost every track was new to me. Going through the EP, your listening experience may be completely different if you know the original tracks better. That’s always an interesting part of cover songs, at least for me. It will determine how much the cover hits you, did you like the original more, is the cover better, or are they both good in different ways?

Even though I don’t often listen to pop music (really, never), I went and listened to the originals of all the songs covered by Muri and Friends. It was very interesting to hear how the artists on the EP decided to compose their vision to keep some aspects of the originals, but also make each their own. Some parts stand out because of a heightened note or tone, a twist on the lead up to a chorus, or even a tempo change.

I don’t want to go track by track on the differences between the original and the cover, because it’s up to you to feel how the songs affect you, but for example, a big standout on the EP is the Billie Eilish cover by Whale Bones. You can feel the passion and seemingly torment manifested in the vocals and lead up to the crescendo. Everyone will feel something different, I’m sure, but that’s what’s so amazing about music.

Once again, Bilmuri continues to stand alone and stand out in another diverse and engaging musical endeavor. The best part is that he always seems like he’s just having fun and I believe you can feel that in the music. No matter the style or composition it’s very difficult to fake that. I will continue to look forward to any time Bilmuri releases anything, because I know it’s going to be a good surprise to my day and music catalog.

bilmuri - Website

bilmuri - Twitter

bilmuri - Instagram

bilmuri - Facebook

Landon Tewers - Ai640 Part III - Review

Landon Tewers - Ai640 Part III - Independent

1. Excrete

2. Blasphemy

3. Debt

4. Final Form

I once started a review for Landon Tewers’ album ‘Withdrawals’, where I said, “This is Landon Tewers, not The Plot In You”. Well, what do I say now? Technically, it’s all Landon of course, but let me introduce you to another one of his side projects, Ai640, which, might actually be the “heaviest” of everything he’s done. Hopefully, that got your attention.

First, some background. Ai640 is a concept of more than five years in the making. Part I came out in 2015, Part II in 2017, and now, Part III in 2020. In case you didn’t already know, by Landon’s own words, “This is a story about a robot with artificial intelligence that escapes the lab he was made in, sees how disgusting mankind is, and decides the only way to save the planet is to exterminate all humans”. Delightful, right? The concept isn’t exactly new, any sci-fi fan will tell you that, but the story is very unique in how it’s told in the medium of music. 

Let me do a quick recap for you. In Part I, Ai640 escapes the lab and through a series of events, decides to destroy the human race, killing thousands and creating chaos. In Part II, Ai640 meets a human named Jane who makes Ai640 rethink its’ purpose. Part III picks up farther in the future, but you’ll have to listen to find out Ai640’s fate.

It’s cliche to say, but Landon really does pull out all the stops in Part III. He uses almost every version of screaming possible in the first track ‘Excrete’ alone. From guttural bellows to shrieking wails and distortion that brings you even closer to the character. It’s an extra level of detail that, if not done correctly, would come off hoaky, but Landon nails the balance needed perfectly. You can hear the passion, the hatred at times, that emanates from his mouth as he describes Ai640’s thoughts on humanity as he moves through a desolate and unforgiving world he created. If you ever needed proof that Landon is one of the most talented and dynamic vocalists in the scene, Part III is the exclamation point to that debate. 

As for the music itself, if you miss old-school Plot, now you’ve at least got your heavy back. Part III is metalcore through and through. Throughout the entire concept, that’s been the case and there was certainly no reason to detour. The production is crisp and it needed to be with how dynamic the shifts in tone and vocals are, not to mention there are effects and dialogue aplenty to move the story along. It’s a very hard-hitting release with only brief moments to really catch your breath. A lot is covered in only four songs, but multiple listens are warranted to pick up on little nuances you may have missed the first time through.

You can listen to Part III without hearing the first two parts for the music alone, but following the story and Ai640 brings an extra layer to the experience. Even though it would probably be tough to pull off, seeing all three parts performed live, front to back, would be pretty epic. I know that’s a very overused term, but after finishing Part III, I think it applies here. 

Ai640 Part III is a definite must-listen for anyone who’s enjoyed the Ai640 story so far, but also metalcore fans in general. Sometimes it feels like it’s difficult to bring something new to the genre, but Ai640 makes it look pretty effortless. Each part has improved on its’ predecessor and Landon has given his story a very satisfying conclusion, but, is it truly the end of the saga? What awaits Ai640 and the last of the human race? You’ll have to listen to find out.

Landon Tewers - Website (Pre-Order)

Landon Tewers - Twitter

Landon Tewers - Instagram

Landon Tewers - Facebook

Ian Hates Boston Manor's 'Welcome to the Neighbourhood'

Boston Manor - Welcome To The Neighbourhood

Pure Noise Records

13 tracks (1 Interlude)

Pop-punk has been on an upswing for the last few years with mainstays and newcomers alike, but, whenever the scene goes through a revamped pop-punk cycle, the music can start to sound very similar. It becomes harder to differentiate yourself from the pack and “make your mark”. Luckily for all of us, there’s Blackpool’s Boston Manor.

Now, saying, Boston Manor, fits comfortably into only the pop-punk genre would be doing them a disservice. They’ve always been good at mixing genres like post-hardcore, pop-rock, and maybe even some emo, to form a really great amalgamation in the "pop-punk" scene. For more reference, you can always go back and listen to their breakthrough debut full-length, ‘Be Nothing’ out on Pure Noise Records. Of course, we’re not here to talk about ‘Be Nothing’ necessarily, but it serves as a great precursor to what ‘Welcome to the Neighbourhood’ is.

And that brings us to ‘Welcome to the Neighbourhood’, the sophomore full-length release from Boston Manor, through Pure Noise Records. I have to admit, I have been looking forward to this album since I first heard ‘Be Nothing’ and saw the lads (I’ll use the British term, why not?) at a small, cluttered, art gallery playing alongside Rarity, Broadside, and Like Pacific. A great mix of post-hardcore, emo, and pop-punk all under one art-lined roof. It was my first experience of Boston Manor live, but it definitely won't be my last.

The album begins with the title track as the intro, but once you hear the ominous tone that’s set from the start, you realize the song is more of a warning than a welcome. Tone plays a big role in WTTN, often haunting intros lead to catchy choruses, with the appearance of some unclean vocals from time to time to keep the listener on their toes. There’s even the semblance of some breakdowns, although lighter than a metalcore band, they’ll no doubt get the crowds moving (see ‘Flowers In Your Dustbin’) if they weren't already.  

Throughout the album, Boston Manor keep you guessing as they weave in and out of bitterness and radio-friendly addictiveness. You’ll find yourself bouncing around and shaking your shoulders even though you know the lyrics aren’t necessarily for body-moving joy. But, that doesn’t seem to matter as you navigate through the album, because each track leads you deeper into this bouncy ominous world Boston Manor has created.

It might sound strange to some, but I often heard some The Amity Affliction-esque melodies in ‘Be Nothing’, so in WTTN, I’ll continue the strangeness and say that in certain tracks you can hear Marilyn Manson-esque and Bring Me The Horizon-esque melodies (see ‘Funeral Party’ for a prime example). Not exactly what you’d expect in a pop-punk album, but that’s what will keep Boston Manor relevant in a sea of the similar.

WTTN is fast paced at times, bold, catchy (of course), and it keeps your attention with the storyline it creates because, for one, it's different than anything you've heard. If your heart isn't out of your chest by the final track it certainly will be as the semi-acoustic, epic sounding, 'The Day I Ruined Your Life' ends with a chorus of repeating shouts of "The day that I ruin your life" to the final guitar pick.

In music, people often bring up that the second album for a band makes or break them. I don’t necessarily agree with that statement in all cases, but if it is true, then Boston Manor have cemented themselves as a must-hear band with ‘Welcome to the Neighbourhood’. It’s one of the most compelling “pop-punk” albums of 2018 and one that begs to be dissected over and over again, and at this time in music, that's the highest compliment you can achieve.

• Boston Manor - Website

• Boston Manor - Facebook

• Boston Manor - Twitter

• Boston Manor - Instagram

• Boston Manor - MerchNow

What was Grey Sorenson Listening to in 2017?

Ian here:

Hello everyone! I don't always use the Ian Hates Blog, but when I do, you know it's going to be important! I hope all of you got a chance to listen to the Anniversary shows for this year! Obviously, I said "shows" because the show was so big I had to split it into parts! Tonight, I'm here to talk to you about Part 2 when Grey Sorenson of Charlatan showed up and knocked it out of the park!

We started talking music (as we're known to do), and Grey went into everything he had been listening to in 2017 and let me tell you, it's an eclectic mix! He had so many, that a lot of people asked for a list and that's exactly what I've done. Also, note, these aren't only albums that came out in 2017, they're albums Grey discovered for the first time (or re-discovered)! 

Without further ado, here they are:

Artist - Album/EP

• Regina Spektor - Begin To Hope

• '68 - Two Parts Viper

• Bent Knee - Land Animal

• Charlatan - Remarkable

• Code Orange - Forever

• Pink Floyd - The Wall

• Color Revolt - The Cradle

• Crash Kings - Crash Kings

• Dog Fashion Disco - Erotic Massage

• Doom Side of the Moon - Doom Side of the Moon

• Enter Shikari - The Spark

• Every Time I Die - Low Teens

• Far From Alaska - Unlikely

• Greta Van Fleet - Black Smoke Rising

• Highly Suspect - The Boy Who Died Wolf

• Man Man - Rabbitt Habits

• Royal Blood - How Did We Get So Dark?

• Incubus - 8

• The Taxpayers - "God, Forgive These Bastards"...

• Vada Wave - Out of Body

• Psychedelic Porn Crumpets - High Visceral (B-Sides)

• Amigo the Devil - Decompositions

• Glass Animals - How To Be A Human Being

• Dodie - You

• Death Grips - Bottomless Pit

• Speedy Ortiz - Major Arcana

• Peeping Tom - Peeping Tom

• Shone - Heat Thing

• Small Leaks Sink Ships - Oak Street Basement

And there you have it! It'll take you a year to listen to all that music! 

Make sure to support Grey Sorenson by following the links below and thank him for his great list!

• Charlatan - Facebook

• Charlatan - Instagram

• Charlatan - Merch

• Charlatan - Twitter

• Grey Sorenson - Facebook

• Grey Sorenson - Instagram

• Top Coat Media - Facebook

• Top Coat Media - Instagram

• Charlatan - Tango Video

Thanks so much once again to Grey Sorenson of Charlatan for coming on Ian Hates Music! The first person to be featured on EVERY iteration of Ian Hates Shows (including the blog)!

Do yourself a favor and go listen to all the other episodes Grey has featured on! 

Long days and pleasant nights.

Ian Hates Movies - Announcement

Hello all,

Ian here. As you've grown used to, Ian Hates Movies has always been a weekly show. And, as you're probably aware, Kelly and I don't get paid for doing the show and I have three podcasts I normally release weekly (Ian Hates Music and Ian Hates Music Conversation Edition). Unfortunately, without help, I am no longer able to keep this schedule. There's literally not enough time in the day. I won't bore you with the details of how long it takes to put out a quality podcast and the money it takes to keep it going. Let's just say it's a lot of both.

This was certainly not an easy decision, but in order to balance life a bit, the announcement I'm making today is: Ian Hates Movies will move from a weekly show to a MONTHLY show for the foreseeable future. Kelly and I are certainly not giving up on the show and we're very thankful for everyone who listens and enjoys the show on a regular basis. Unfortunately, this is the way it has to be for now. We will advertise when the new episodes will be out, but as of now, there won't be a set schedule for release. Hopefully, things will change in the future, but until then...

Long days and pleasant nights,

Ian

Hey everyone Nerdygirlivy (Kelly) here, Yes sad to say Ian hates Movies will going to a monthly show, but not to worry we are working one new stuff and will be keeping you posted! ....

All love to the best fans, the Haters!

Nerdygirlivy

Crystal Lake - True North - Interview

Ian here! I know you're used to hearing my voice, but today, we're trying something a bit different. We've been talking about Crystal Lake, the four-piece Japanese metal band, on the weekly show Ian Hates Music with Jackson and I for a while now. They just released their fourth album True North through Artery Recordings and I was given the opportunity to ask vocalist Ryo Kinoshita and guitarist Yudai Miyamoto (YD) some questions before the big release! Check them out below!

First off, I’ve listened to your new album True North many times already and I’ve very much enjoyed it. Congratulations on continuing to put out quality music to the scene. I think that’s a good place to start. I hear a mix of a few different genres in True North including metalcore, alternative, hardcore, and nu metal influences, which is very refreshing. Was that an organic process while making this album or was it planned?

YD: We made clear what we really want to express and what kind of music we can be really proud of before we actually start writing songs.  As the result, we realized what we wanted to play was what we've been listening and various kinds of music related to the culture around us.   This realization made us free to write what we really like.

After making a mark on the American scene with The Sign, what was your mindset while making True North?

Ryo: We just wanted to make our sound more unique as a japanese band, especially its exotic melody and rhythm.

Of course, we wanted to make it heavier and more melodic sound.

With the shifts in genres in True North, was there an overall theme or message you want the listener to receive while listening?

Ryo: ”No matter what surrounds us changes, this is us.  This is the way we are.”

I was very impressed with the technical abilities showcased in True North, was there anything that each of you worked on and really wanted to showcase in this album?

Ryo: I want to show not only technics of growl and guttural but the wide range of voice as a vocalist.

The band has been around for a long time now, with member changes of course, but with such an extensive catalogue, how do you choose which songs to play? What is a favorite for each of you to play live?

Ryo: We always have trouble in choosing which songs to play.  We often change the set list right before the show.  My favorite song is ”Dreamcatcher”.  The rapping part is so hard to sing but always fun.

YD: I would choose new songs because they are made by our latest ideas and passion.  But we sometimes try to understand what kids want to hear and choose old songs.  I personally like 'New Romancer' and 'Waves'.

On the subject of touring, what’s the major difference for you between touring in Japan and touring overseas? Do you have any plans to tour the states in 2017? If so, I hope you come to Boston so I can see you live!

Ryo: Japanese wants messages and meaning from what we say, not what we sing about. On the other hand, I think people in overseas are hungry for music. They react directly.

Ryo: I'd love to!   I've wanted to see how the reactions in the states would be.  Can't wait to see people waiting for us.

For the end of a conversation, I like to switch it up from music because I have some other shows I do as well. I’m also interested in many different genres of movies. Do each of you have a recommendation for best movie of 2016 in your opinion?

Ryo: Definitely ”Your Name”.  ”Star Wars: Rogue One” will be the next.

YD: It's little bit difficult to pick up one but 'Sing Street'. It reminds me of youth.

Lastly, a weird one (laughing). As a touring band going all over the world, do you have a plan if the zombie apocalypse happens?

Ryo: I will become a zombie and eat away people without hesitation.  I will slit your guts.

Thank you very much to Ryo and YD of Crystal Lake for taking their time to get in touch with me! Make sure to support Crystal Lake by following these links:

http://merchnow.com/catalogs/crystal-lake

https://www.facebook.com/crystallake777/

http://crystallake.jp/

https://crystallake-band.bandcamp.com/

http://arteryrecordings.com/artists/crystal-lake/

And, for the full review of True North, tune into Ian Hates Music podcast/show! You can find everything Ian Hates here:

http://www.ianhates.com/

https://www.facebook.com/ianhates/

https://twitter.com/ianhatespodcast

https://www.instagram.com/ianhatespodcast/

https://itunes.apple.com/us/podcast/ian-hates-music/

http://www.stitcher.com/podcast/ian-hates-music

Ty's Resignation from Ian Hates Music

Hello to all the Haters out there.

This is Ty speaking. Just wanted to get it out there before people get confused and start having panic attacks and questions coming in left and right. As of lately, I have decided to step down from being 1/3 of The Core on Ian Hates Music. The decision has been thought of for quite some time and me along with the brothers, that being Ian and Coldplay and Twenty One Pilots fanboy Jackson, have discussed it and they respect my decision and are going to continue on providing you with good quality shows and interviews you all have grown to love. And no, we don't hate each other. It's all family here at Ian Hates and I wish Ian and Jackson nothing but the best and hopefully we all can grow as we move along and you all are welcome with open arms to grow with us all. BUT, me stepping down from the Core isn't the end for me. As far as me and the guys are concerned, I am still a part of the family and I will be continuing The Ty_RockCity Music/Entertainment Blog and hopefully my writings will make it on the website for your reading pleasure in the next coming weeks. Also, I'm welcoming hater/listener questions so I can answer them on the website as well. So keep supporting Ian Hates and myself, keep listening, keep subscribing, and I'll be in touch with you all soon.

Expect nothing less, hardcore lives, nothing but the best and vice versa,
Ty