Introducing: Nasty Fishmonger

The fishmonger by trade is an ancient one, a guild officially recognised, ratified, protected, and regulated by the crown as early as 1212, and forms one of the Twelve Great Livery Companies of the City of London. Today, better known as the Fishmongers’ Company, or the far more grandiose Worshipful Company of Fishmongers, they still stand as a significant authority in upholding the standards, of retail and trading within the seafood industry. Safe to say, they have a lot of heritage and history to celebrate for what is commonly revered as a humble and modest profession. It is exactly the kind of heritage and lore that bards and folk musicians have thrived upon for centuries; to able to artistically recollect tales in such rousing fashion, that their own words, songs, and melodies, endure as long as the history they’re based upon. Bristol’s Nasty Fishmonger, of course based in the West Country, a realm with its own rich history and unique traditions upheld, are no exception to this mentality.

For this trio of university friends, what initially began as a one-off, tongue-in-cheek performance, has shifted and expanded into a bright, burning new star on the UK folk scene, within just eighteen months. Going from corpse paint in their local venue, to sharing the same stage with Port Isaac Fisherman’s Friends in under a year, is some real heavyweight endorsement. That’s no matter of luck either. The union and chemistry between Captain Rehab, Lizzie Blower, and Shanty Dan, generate a formidable, infectious energy so powerful, the pride of Her Majesty’s Navy would be envious. Fitting then, that their first recorded output honour the life and times of fearsome Irish pirate queen, Grace O’Malley, who infamously stood against Elizabeth I.

51593823_346338889305550_1756109331587137536_o

In their riotous live performances, Grace O’Malley has become their opening gambit; four minutes of stomping punk rhymes and sharp-tongued narration, driven by the feisty fretwork of Captain Rehab. Gentle, perhaps understated plucks of mandolin, interject beneath the already tremendous kinetic force of acoustic guitar, those singular notes so subtly adding emotional depth to this ballad, it deserves commendation for how rich their songwriting strength really is. The story begins with O’Malley’s pleads to accompany her father overseas to Spain, to share in the family’s trade forays in that coastal domain, performed with the command of a town crier, mere inches away from a full-on punk snarl or a pirate’s growl seeping into the vocals. The fact neither fully engulf the dialect, yet those ever-so familiar tones linger in every inflection, carry that rebellious spirit marvellously. Then the thumping of kick drum begins, alongside several sustains from the recorder, the harmonies imbuing a sense of romanticism and airiness, a sea breeze if you will, to the recollection of O’Malley’s brief marriages, that pumping tempo leading straight to the chorus, and into her chief role of defending the shores from English oppression. The unison at the end of everybody’s vocals, emphasising the teachings of O’Malley, has the pair of male vocals more prominent, and while maybe or maybe not intentional, serves a clever little juxtaposition and only further reinforces the pirate queen as a brilliant, but sorely forgotten figure of historical feminism.

Details of the conquest of Doona Castle, and the aforementioned confrontation with Queen Elizabeth later unravel, the duly noted refusing to bow before her, and carrying a dagger as protection, causing quite the stir for its time, and afterwards, led to her support of Irish insurgents in the Nine Years War. You could even argue that the final minute of the song, the manic adrenaline of guitar, banjo, and recorder, with the kick drum gathering pace, encapsulates an aural metaphor for battle frenzy, or at its loosest listen, some form of wardance. In any case, after such a tall tale, to create that kind of exhilaration, the kind that this fascinating character led her entire life by, is a fitting testament and tribute. And to think that only begins a Nasty Fishmonger live show. Plainly and simply, for a first single, this is a band with the incendiary attitude, and the devotion and ingenuity to translate fables and folklore, into the most rapturous, yet meticulously textured history lesson you’ll ever participate in.

Grace O’Malley is released 17/04/20, with a live stream to celebrate the single launch to follow.

Go support the band via the following social channels:

http://www.facebook.com/NastyFishmonger
http://www.instagram.com/NastyFishmonger

And you can support the site, by liking and following on social media, or by following using the button to the right:

http://www.facebook.com/IAmTheSoundshark
http://www.twitter.com/The_Soundshark

Mr.Kitty Embraces Death Like Never Before, On Album Number Seven, Ephemeral

There has never been a time where the conversation about mental health, needs to be louder. Any loss of life is awful, and taking the matter into your own hands will never be any less tragic. But, with the recent deaths of Chris Cornell, Chester Bennington, and now, the loss of Keith Flint, already very raw in the hearts and minds of musicians and fans alike, it is time to stop trivialising the matter of suicide and take affirmative action, not as a society, but as fellow human beings. Forrest LaMaire aka Mr.Kitty understands the value of this conversation, and with his seventh release Ephemeral, the exact value of this conversation becomes all the more evident. Continue reading

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.

15977775_1185234568198232_5213493837639532601_n.png

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

And if you enjoy what information is discovered about artists, bands, and groups you may not know much about, consider leaving a like, a follow, or subscribe to the site, free of charge:

http://www.facebook.com/IAmTheSoundshark
http://www.twitter.com/The_Soundshark

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.

johnny-deathshadow-dream-foto.jpg

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

And if you are interested in the plans of the Soundshark, though less steered towards domination, you can do so with a like, a follow, or by subscribing to the site for free:

http://www.facebook.com/IAmTheSoundshark
http://www.twitter.com/The_Soundshark

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.

DipiGXOWkAIB1xD

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

And lastly, if you like what this site does, consider leaving a like, a follow or subscribing to the site by clicking the button that appears:

http://www.facebook.com/IAmTheSoundshark
http://www.twitter.com/The_Soundshark