Introducing: 00000000

Building intrigue around a band or an artist certainly has become an artform nowadays, with more and more meticulously planned attempts sought after to challenge tried and tested marketing campaigns and traditions. A highly effective method to increase ‘buzz’ around a band is to strive for as an anonymous presence as possible and let the music do the talking. What can make a difference is how far musicians are really willing to push that boundary. We can talk about groups like Sleep Token, and until recently Ghost, who have formed their identity with a grand narrative to accompany their music, and it kept us guessing who were the musicians behind the masks, while marvelling at the work laid before us. 00000000 might be taking it that extra step further.

At face value, 00000000 is fast muted alternated strumming in guitar tablature, means nothing in binary, the precise time at the strike of midnight, and the number of life points both players would have left in a game of Yu-Gi-Oh, if both players drew the game. Or four fat ladies if you put all the zeroes together, if bingo is your bag. Their members have no publicised names or pseudonyms, music no defined genre traits and their public bio is illustrated by an excerpt from the dialogue of David disconnecting HAL in 2001: A Space Odyssey.  Their shows are only identified by a date and a postcode, which is a neat little detail in locating them, but any other detail about said shows are extracts from science fiction, cinema, and philosophers. The breadcrumbs are apparent, but seem to follow no clear cognitive fashion, and as such, if the band truly wished to keep themselves under wraps, their mission is succeeding.

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Thankfully, the question about what kind of musical calibre dwells inside the mystery is one that is answered, upon the release of the group’s Star Lane / Star City EP. With the four tracks, including a similarly urgent interpretation of Radiohead’s Everything In Its Right Place, the members of 00000000 perform, in the loosest sense, an engulfing brand of shoegaze-tinged indie rock, which can explode into heady periods of overwhelmingly emotional noise, almost as if Arcade Fire and Brand New started butting heads with one another. Constellations swirls with a sense of melancholy cheer, desperate wails and incandescent guitar, pit against rapid ticking of hi-hat and sombre piano, both skins and keys later pounded in unison, as its crescendo draws nearer. Once at its apex, that intensity never lets off, captivating as it is clamorous. As gateways go, this is an exceptional vantage point into what this group are capable of. Explore, though the shortest affair featured, begins in a jazz-like time signature, the offbeat cymbal taps and trio of snare hits offset by an almost Eastern-sounding chord progression and is arguably less excitable vocally, despite retaining much of that fervour felt before. If anything, it says something about their versatility, still being able to grasp at their vast sonic capacity in half the space of time, but also teasing glimpses of post-rock influences, a tremolo or two tucked inside, another tool to deploy if required. Lastly, Acid Burn tinkers with delay and darkened spoken word, post-punk, almost gothic-like in nature, which metamorphoses into sharp streaks of lead guitar and the kind of anguished vocals that sparks that Brand New comparison, back into shadow with just the prominent grumbles of bass for company. Cleverly, that spike in volume no doubt resembles the focal acid burn, at first unsuspecting, then becoming fiery, and distressing, until either treated or the damage is done, transitioning back to the quieter dynamic afterward.

All this adds up to the revelation, is that 00000000 are envoys of rejecting commodity, defying the throwaway tendency of music in the digital age, by tactically giving a willing audience both musical style and substance, in a frankly inexpressible hurricane of aural flavours that engages your brain, as well as exhilarates it.

All known information about this group can be traced back here if you wish to know more:

http://www.facebook.com/00000000music
http://www.00000000music.com

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20 Bands And Artists With New Music in 2019 You Should Keep An Eye On

By now, the hangover of 2018 should have long subsided, and 2019 should now begin to be as familiar to everyone as much as your work colleagues, classmates, or friends you go clubbing with, are. We’ve conversed, debated and voiced our collective opinions on what the best of the best of 2018 was, and ahead, we look into the eyes of 2019 longingly, yearning for continued musical excellence as this decade draws to a climax. So bearing that in mind, the site has put together 20 bands and artists bearing a variety of new musical fruit in 2019, that you should absolutely sample, and hopefully savour and find immense pleasure from.

Continue reading

Track of the Week: Johnny Deathshadow – Sugar Like Salt

The debate between what constitutes the difference between a Neue Deutsche Härte band and an industrial metal band is a fascinating one. In fact, that debate is so passionate and hotly contested in certain pockets of the internet, it’s recommended reading perhaps along side this piece. For anyone not versed on their musical history, in its crudest definition, Neue Deutsche Härte tends to describe any German metal band, that sings almost exclusively in German and follows a musical template akin to Rammstein and Oomph! as the foundation of their sound. The label itself could be argued to be a product of its time, grouping the sounds of the emerging bands in the late 90’s/early 00’s with a media umbrella term, but its use is still insisted upon by not only German bands, but recent international ones too, inspired by the enduring legacy of those bands. Where Johnny Deathshadow enters this conversation, acknowledging that their vocals are predominantly in English, is that they are a German industrial band, with similar electronic flourishes to the genre’s progenitors, yet are not considered a Neue Deutsche Härte band despite Umbra et Imago being allowed a pass, carrying on their larger gothic roots and undertone in tandem. Start a petition if you must. Joking aside, and whatever your opinion on this argument is, it is this rich cultural phenomenon that Johnny Deathshadow both carries on, and sheds itself of, creating their own enticing sonic universe that wider Europe is starting to take notice of.

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Though the band’s roots actually lay more in the Misfits and horrorpunk covers of pop songs, earning them the moniker of the ‘Hollywood Death Cult’, a decision mid-decade to incorporate larger industrial elements into their compositions, caused the band’s popularity to erupt in their native Germany. Bleed With Me, their first full-length album adorning gothic industrial metal was a huge success, swiftly taking them overseas in the process, but while the album was excellent overall, their vision still seemed somewhat in utero, and restrained. Three years later, that worry is completely eradicated. D.R.E.A.M. is a seminal work, refining a tremendous formula, but scaling the production to a grandiose stage that benefits vastly, and reintroducing elements of their punk and hardcore backgrounds to electric effect. Sugar Like Salt pips many of the album’s highlights as D.R.E.A.M’s finest moment, and showcases why this band could slowly take over the world.

A muscular synth arpeggio throbs and winds at the inset, with strokes of strings and distorted thumps programmed, lurking within reaching distance behind, prodding at the nerves of its listener but also cranking energy levels to a feverous intensity. As the drum sequence beats its last, live drums pounding a mesmerising groove ,and the heavy chugging of down-tuned guitar, mimicking that of an engine, break forth with the synth, a stampede of a rhythm that will fuel metalheads and dancers alike. Monotone vocals shortly strip out the guitar, a hint of malice gleaming in every syllable recited from the morose prose, yet it carries a certain infectiousness that you visualise crowds repeating. No sooner you absorb those biting words, a brief blasting of relentless, hell-for-leather hardcore style beats suddenly smacks you in the head, ferocious growls scratching at your eardrums, this unforseen display of attitude neatly opening up for the chorus vocal melody that bursts as a wave of elation. Reminiscent of Candyass-era Orgy hooks, this is an earworm with such a latch, you’ll be fighting it for days for a release, and D.R.E.A.M. is absolutely infested with them. Interplaying perhaps as the titular sugar like salt, this sweet-stung moment in a realm of obsidian cynicism brings out the best in the track’s often energetic dynamics. Tailor made for fetish clubs and mosh pits, Johnny Deathshadow’s crossover appeal has scarcely begun to be realised, with a unique appearance and a fearsome live and recorded repetoire in tow, these gentlemen have a scene firmly in the palm of their hands, and it’s only a matter of time before they put the squeeze on it.

 

For more on their future plans on domination, their social media, tour dates and  can be found here:

http://www.facebook.com/johnnydeathshadow
http://www.johnnydeathshadow.com

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Track of The Week: Our Nameless Boy – All It Is

In popular cultural semiotics, the phrase ‘ the C-word,’ we all widely acknowledge refers to the often belligerent horrors of cancer. A word that strikes fear, dread and distress into the hearts of those directly and indirectly affected. The disease is now so commonplace, it is impossible to go through your lifetime without knowing someone who has been affected by it. Thankfully, due to the wonders of modern medical science, cancer is now no longer a death sentence, and more and more people everyday can say they are a survivor. Musicians especially seem to be having more and more luck winning their respective fights. Iain Gorrie, of Bristol emo brigade Our Nameless Boy, is among those battling back from life-threatening progression of the disease. Diagnosed with testicular cancer in 2015, and starting a lengthy chemotherapy cycle, alongside surgical procedures, Iain finally reached a stage where he felt well enough and strong enough to begin writing new music in earnest, the quartet announcing a new EP in Spring of this year, after several away. Titled ‘Tomorrow I’ll Be Scared Again,’ it plays not only into the ongoing worry of not knowing if you could wake up, but into the personal anxieties and adversities of the wider world we live in too. The single All It Is announced from the EP, serves as an intense aural and visual narrative of Iain’s recovery from his chemotherapy.

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His vocals, sounding weary and with a degree of frailty, tell of how his treatment has caused a series of diversions in his life and how unwell it made him feel, whilst urgent, melodic alternate picking lay behind his tale’s opening. Short after we’re treated to a brief tease of drums and guitar in unison, those four snare pounds and fiery strums, lighting the fuse of anticipation towards its chorus, but not before all instruments make an entrance and tighten the pressure up that much more. A pause for breath proceeds what doesn’t come across as quite an explosion, but more an emphatic expulsion of energy, strings and skins colliding together, to add prominence to the show of positivity that Iain can conquer his cancer. With production stripped down to its barest bones, the chorus feels that much more heartfelt and encouraging for those still watching a loved one persevere in their own respective battle. Rapid snare taps keep pace and intensity in a high gear with the melodic picking returning to soundtrack the story, the tribulations of chemotherapy initially being somewhat lonesome, but allowing him to return to be the person he once was. This verse neatly ties into the track’s greatest display of strength; a bridge of unclean, near-screamed vocals backed by the punch of snares, and the occasional slam of chords, the rawness, and unbridled emotion of this moment acting as a switch, the pivotal event in Iain’s fight back and his wellbeing close to normal again. The time-lapse and series of photos past afterwards, synced to the music in the video only add to the gravitas of this bridge, with his hair returning in its duration, and watching a young boy grow up in a matter of seconds, a poignant device for anyone with lasting memories of their friends, or children. Our Nameless Boy have transformed a harrowing situation into a memorable message of strong inner resolve, and optimism in a time where hope can so quickly dwindle. Minimalist, melodic at the right times, and a masterstroke of art in a sonic and screen-based space, this Bristol quartet deserve a hero’s welcome back to the UK music scene.

‘Tomorrow I’ll Be Scared Again’ is released on 1st March on Beth Shalom Records, preceded by an EP launch show on the 28th February. All their music can be found on their Bandcamp page.

You can find out how they’re all getting on, on their social media here:

http://www.facebook.com/ournamelessboy
http://www.twitter.com/ournamelessboy

And if you’re ever interested how this site gets on behind the scenes, you can find out by giving a like, a follow, or by subscribing to the site:

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And lastly, if you are affected by any of the content you’ve read here, know that you are not alone, and there are many folks out there you can talk to, or can help you, and that cancer can be beaten.

Track Of The Week: The Burial Choir – Till Death Do Us Part

If ever asked to define a burial choir, you could assume by matter of association, that it is the voices of those in hymns or prayers, at the site of loved ones that have departed this world. The voices of mourning, grief, and heartbreak. Downtrodden and united in sorrow. Turning to Robert Scott, songwriter for 25 years, the singular voice, and sole member of Wisconsin’s The Burial Choir, does he fulfil the namesake and imagery conjured around such a vivid, macabre concept? Well, not exactly.

Granted on his 2017 self-titled debut EP, the ominous toll of a church bell proceeds and concludes the three tracks in between: a mass of swirling mist and melancholy that touches on Type O Negative territory, but has far more in common with the urgent dissonance of post-punk, and the spacial ambience of post-rock and post-metal. Similarities cease there however. Digging deeper, riffs and resoundingly impressive groove form the solid backbone to Robert Scott’s pained wail, closer to a downbeat Queens of The Stone Age. Like if Josh Homme was thrown down a well so to speak.

So mere days into the new year, what does 2019’s Relics herald on the continuation of The Burial Choir saga? Another four more tracks that further tap into Scott’s wider web of influences, introducing shoegaze and more substantial psychedelia into what was already a distinct fusion of styles and sounds. Arguably the best of the bunch is the EP’s second odyssey, Til Death Do Us Part. Seeped in cavernous reverb, a distorted buzzsaw of guitar groove wastes little time in pace-setting, with the tease of short, sharp snare and cymbal shots building anticipation as Scott affirms that ‘This is where it all starts.’ The drums burst forth, the distance between itself, and guitar vocals sounding huge, but working to great effect with the subtlest undercurrent of bass, accenting every beat, as you can slowly feel hips start to sway, losing control to this primitive but mesmerising rhythm. He knows when to throw the hammer down also, launching into a rousing rock ‘n’ roll shuffle between verses, that certainly stokes those Queens of the Stone Age comparisons. Heavier still, is a sludgy, verging on doom-esque breakdown around midway with terrifying guttural roars that sound like abyssal calls from realms far beyond our own. Positioned in the middle of the allusion to a child’s trauma between warring parents, makes it all the more poignant and dramatic, maintaining that consistent tone of melancholia and feeding on very real, raw personal scarring for many, despite an upbeat tempo. Followed by an emotionally charged, melodic guitar solo, which is sure to chill many a spine, and solitary vocals, complete with hand claps you can just visualise any respectable venue participating with, and it tops off what is an early highlight of the very beginning of this year’s new musical calendar. The Burial Choir certainly continues to shapeshift and elude iron-clad genre constraints, instead manifesting itself as one man’s creative playground of smoke and sadness that the world should be dying to hear more of.

Relics is out now on 3ZERO4 Records, only on Bandcamp.

You can find everything that goes on in the world of The Burial Choir here:

http://www.facebook.com/TheBurialChoir

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The Soundshark’s Top 10 Albums of 2018

As the world begins to stir, gently putting the gears back into production, and steadily adjusting weary eyes to the bright new horizon of 2019 (I mean, it probably won’t be that different, other than some cases of lingering hangovers, apparent nationwide incense about a vegan sausage roll, and more than likely international condemnation of whatever Donald Trump does next), we at least have a period longer to contemplate how good a year of music 2018 really did provide us with. However the longer it took to mull over how a good year of music it was, the more frustrating it became to whittle down and distil the ten best. It’s very safe to say EVERY album about to be mentioned was in contention for a top ten position. Tantrums happened and tears were nearly shed. An iron resolve and persistence eventually paid off, and in the settling dust, lay the final ten chosen to represent the best of 2018. Just one of them became the victor and declared ‘the undisputed favourite.’ Continue reading

The Soundshark Artists of The Year 2018 – Lotus Eater

The first month of the year always brings forth the time to look ahead to the next 11 months of what we all hope will be a monument in each of our lives, but it also serves as a stopping point to reflect on our previous rotation around the Sun and everything that happened in that particular snapshot of our lives. Safe to say, 2018 was not short on stellar musical performances and releases whatsoever, it may have been among the strongest years of this decade undoubtedly. While this site is often not bound by dates nor limitations, the strength of the music that bands and artists have produced this year was simply staggering, staggering to the degree that recognising and commending it as such had to be the course of action. So when it came to deciding which bands or musicians should be in contention for this accolade, this shortlist wasn’t so short. However, in terms of sheer hard graft, songwriting, endless energy on and off stage and their frankly indescribable success this year, none were more deserving than Glasgow’s finest wrecking crew, Lotus Eater.

For context, Lotus Eater entered 2018 with a handful of music videos detailing their ferocious, laser-tight, tech-metal onslaught, pining for violence and bloodlust, from their crushingly heavy debut EP. They enter 2019 with a record label, even more European show dates, countless festivals under their belt, Radio One Rock Show airplay, and with a reputation as one of the UK’s most nerve-shredding live bands. In the space of 12 months and with less than ten recorded songs. If you want the definition of meteoric rise, then this is it. Even side-by-side with their brothers in brutality Loathe, who’ve had a similar build in exponential growth this year, that is a truly astonishing feat.

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Bathed from head to toe in green, these snarling, seething verses from the throats of real, pissed off, and disenfranchised youth is not a commodity. It’s an experience, an exhibition, an exercise of conveying unchained aggression and pure cathartic release, in one of the most devastating fashions likely to grace auditory nerves. Their guitars scream in the most vindictive and vengeful tones imaginable, yet while it becomes the sonic equivalent taking a breezeblock to the skull, their sense of groove twists this into some of the most unique and innovative hooks tech-metal has yet to produce. As musicians, their meddling with time signatures is surprisingly complex, given their vast emphasis on blunt force trauma, so their raw skill and ability should never be downplayed. Even in atmosphere and ambience, there is an unrelenting dread and malice that strays far from being overbearing and slots perfectly into this volatile formula. Not everything is rooted in vehemence, you get occasional clean vocals that may seem an oddity amongst such bleak and barbaric displays, it is but another tool they transform into a hook and sinks their stories even further into your brain.

Lotus Eater create music, that is as intense and personal as structured chaos gets. A band so relevant and immediate, that from the poverty-ridden streets of the UK’s third most populous city, understands despair, hardship, and disadvantage better than some take for granted, and expel their rage into mantras with more than a healthy fucking dose of reality behind it. Once this surfaces, why they have resonated with so many, so quickly becomes a no-brainer. Their desire and fervour to bring gloom worldwide, with a small but captivating and concise catalogue has to be applauded. Gloom is their home, and everyone is welcome.

Five essential Lotus Eater tracks:

 

All of Lotus Eater’s music can be found on Bandcamp and your reputable online retailers. You can grab all other merch and the likes from their Bigcartel page, but everything sells out fast, so act quickly on that front. They are currently signed to Hopeless Records, and chances are this will herald new music in 2019, so watch this space. They also begin a headline live run from January, and support dates that run into February. Find them all here, or hit up your local promoter to bring them to a venue near you.

All news and updates regarding these gentlemen can be found on their social media here:

http://www.facebook.com/LotusEaterUK
http://www.twitter.com/lotuseateruk
http://www.instagram.com/lotuseateruk

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