Peter Steele And Me

Peter Steele

As I sit on April 14th, yet again mourning the loss of Type O Negative’s Peter Steele, and reliving the sorrow that I will never get to see this monolithic band on stage, ever, on the 10th anniversary of Peter’s passing, I felt I should add some words of my own, to the floods of tributes already paid, to a literal giant of the alternative music scene.

The first time I truly recall the work of Type O Negative in my life, was a feature in Kerrang, with a beginner’s guide to their work (which was an excellent feature and I think they should’ve kept up, and unless the well ran dry, someone else could really monetise this premise), highlighting their 15 best songs, and the albums you should purchase. Although my love of music had not yet blossomed to its fullest strength, track names, album titles, and finer details quietly seeped into my brain of this newly acquired band, and did not awaken until three or so years later. That being in a time where music streaming and YouTube were still in their embryonic stages, and as a teen with little money, mp3 samples on online retail outlets, and the use of LimeWire, were my common practices to cherry pick and obtain the music I wanted to listen to. Yet I didn’t make the first step. My brother did.

My brother, head deep into his emo phase at this time, scoped out and sourced various different, often provocative, bands and songs from LimeWire, put them on an iPod, or played directly from his laptop, and that music permeated out of his bedroom door seven days a week, right up until he slept. One such song he played was Dead Again, taken from the titular album around the time of its release, and while it never initially gripped me, rotations over months and a huge love for thrash metal, brought pleasure when it belted out from his speakers. I eventually asked for the song to listen to myself, and in that moment, triggered the memory of that Kerrang article, and the song titles I should seek if I wanted to hear more. Unbeknownst to me, my brother did also have this song himself, but Wolf Moon, acclaimed to be the best song they had written by whomever was in charge of that article, was the song I next listened to, and it tore open an entirely new realm of music to me.

There was something about that bone-grinding bass tone against the backdrop of ethereal gloom, the keys alone scratching that 80s itch I’d later become obsessed with, but his ungodly bellow, reaching from a place of pain yet staggeringly melodic, totally floored sixteen year old me. How could something sound so gargantuan, melancholic, and beautiful at the same time? My first encounter with Wolf Moon did precede becoming better acquainted with Sabbath’s back catalogue, but in those six minutes of head-crushing bliss, a world where Ozzy and Paul McCartney went for a sad drink in the pub, and wrote songs together, made absolute sense. I wholeheartedly defend Wolf Moon as the best song ever written about giving head to a girl on her period.

Wolf Moon became somewhat of a staple in what was a meek offering of my musical tastes, but my love and fascination with Peter Steele and Type O Negative never truly took off until Spotify sprung into existence. I had already owned Dead Again in full by this time, but the true birth of music streaming, enabled me to experience so much more of what was Type O’s darker, heavier, and often deeply hilarious universe. You can take countless examples through out their career on what is considered as the funniest Type O song, but mine remains September Sun from Dead Again, while an excellent song in its own right, it almost exists solely to be a upbeat pastiche of November Rain. The Drab Four was perhaps an astute term befitting their music, but it cannot be understated just how funny this band were, attached or separated from their art.

With firm adoration established, the very harsh reality that I could never experience them live began to set in. No chilling rendition of Love You To Death. No deafening chants of Black No.1. No tongue-in-cheek pomp of My Girlfriend’s Girlfriend. No venue-trashing frenzy from I Don’t Wanna Be Me. That particular space in my head to fill with being in the same room with another of my favourite bands, will forever remain a void, and hollow.

Peter Steele, a man whose lore and public perception paints him as one of the nicest people to grace alternative metal, who battled his own demons and vices for decades, and perhaps in a final hope, turned back to Catholicism in his last years, before his body succumbed to the damage that had been done to it. A larger than life person and personality that could never take to the stage again. Especially in an age where the veil surrounding mental health is gradually dissipating, his demeanour and conduct was always that of a magnetic and wildly entertaining songwriter and individual. Were he still alive, could things have been any different? Perhaps, but with so many warming accounts, archive footage, and of course his incredible back catalogue, to ponder that what if scenario only does an injustice to the memories of those who met him, and were touched by his music. A man who by his twilight years came in touch with his own mortality, and despite not following so many parallels with, I felt a genuine human connection to.

The greatest example I can offer you is a lengthy interview with the often considered divisive Juliya, which is still one of my favourite videos I revisit, in which her closing question to the band is ‘How would you like to die?’ The vast majority of the interview is jovial in tone and while the rest of the band answers in the same light-hearted manner, Peter answers with the following, could be considered sobering, statement:

‘How would I like to die? It wouldn’t really matter, so long as I made a difference in the world.’

Every April 14th, I’m reminded of these words as a moral code to abide by, in the hope I can one day get closer to that goal of feeling like I too can make a difference before I shuffle off the mortal coil. It seems fitting that Peter admired Rasputin, a historical figure who famously couldn’t die, because for the influence he has had on my life, and countless others, as a musician and as a true innovator, he too, will surely never die in the hearts of music fans either.

Thank you, Peter.

Rest in peace.

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The Secret Tsunami Club – S1E06

The Secret Tsunami Club - S1E06

‘Music can’t make waves, if you don’t know it exists’ – The Soundshark.

Broadcast #6, from a realm in time and space that has intercepted two hours of the best in under the radar, underground, and unsigned music.

This is the Secret Tsunami Club.

Tracklist:

Grenades – Primate
Ultramariini – Sointu
Rosy Finch – Vermillion
Coyote Man – Perilous
Boneweaver – Depths (feat. Sam Mooradian)
Airships On The Water – Overcaster
You Win Again Gravity – Recursive
I See Vultures – Goodnight, City Lights
No Ostriches – The Solid Lipstick Drama
[Amatory] – Нож (feat. RAM)
Wasted Struggle – Daily Abuse
NYOS – Curiosity
Bubblegum Octopus – Come Back, Beat Life
Bone Cult – Realise
Houses of Heaven – Sleep
Panther Modern – Ask Yourself
Sidewalks and Skeletons – Letting Go
Violent Vickie – Serotonin
Zombie Commando – The Thunder God
Ideesnoires – Echo
Tommy Krües – Miami Miami
Avalon Rays – Holding Back (feat. Spike C)
Dave Owen – Venom
Ash Walker – Come With Us (feat. Yazz Ahmed)
MCL (Micro Chip League) – Soft Electro Song

Please support the artists featured.

Want all the music, but with no interruptions?

Here’s a playlist of this show’s music:

Independently curated, recorded, produced, and edited by The Soundshark.

All episodes so far can be found here.

The Secret Tsunami Club thumbnail lovingly produced by Julia Klein.

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The Secret Tsunami Club – S1E05

The Secret Tsunami Club - S1E05

‘Music can’t make waves, if you don’t know it exists’ – The Soundshark.

Broadcast #5, from a realm in time and space that has intercepted two hours of the best in under the radar, underground, and unsigned music.

This is the Secret Tsunami Club.

Tracklist:

Alexa Van and the Black Outs – Black Doubt
Demonstrations – Clang!
The World / Inferno Friendship Society – Bad Penny Blue
Vernon Jane – Over
The Post War – Bend
The Basement Paintings – Instinct
Eris Is My Homegirl – Nowy Dzień
Pogo Car Crash Control – Tête blême
Quasarborn – A Pill Hard To Swallow
Pressure Cracks – Like Father Like None
The Ditch and the Delta – Maimed
Hammerhands – Dad Sludge
Stömb – Dimension Zero
Celluloide – Si tu renonces
Kofin – Someone To See You
Youryoungbody – Cement
Bedless Bones – Limbs Entwined
DEVILNOTCRY – Energy + Ecstasy
Amy Douglas – Cities In Dust
Antisun – Nosferatu
BVSMV – Labyrinth
Ginger Snap5 – Enter The Action
Miseria Ultima – Remote Warning
R.I.P. (Roppongi Inc. Project) – Bazooka
Escape Artist – Digital Natives

Please support the artists featured.

Want all the music, but with no interruptions?

Here’s a playlist of this show’s music:

Independently curated, recorded, produced, and edited by The Soundshark.

All episodes so far can be found here.

The Secret Tsunami Club thumbnail lovingly produced by Julia Klein.

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The Secret Tsunami Club – S1E04

The Secret Tsunami Club - S1E04

‘Music can’t make waves, if you don’t know it exists’ – The Soundshark.

Broadcast #4, from a realm in time and space that has intercepted two hours of the best in under the radar, underground, and unsigned music.

This is the Secret Tsunami Club.

Tracklist:

Gaygirl – Mikkel
Thé Vanille – Philemon’s Chair
Philosophers – Caribou Island
The Legendary Flower Punk – Wabi Wu
Lattermath – Homunculus Theory
Mnmlst – Monarch (Wolf)
Vernon Of Persia – Ascend
FRCTRD – Tyrant
CLCKWS – Sheep*
Owls Woods Graves – Concierge of Hades
Devil-M – Faszination
Our Earth Is A Tomb – øne
Mantis – Tropic of Nothing
The Dining Rooms – Alli guai
Twinsanity – Raw Pressure (feat. Moderator)
SEADRAKE – What You Do To Me
Colossal Squid – Faded Acid
Imer6ia – Aeternalove (feat. Øfdream (R.I.P.))
Human Performance Lab – Terran
Vestron Vulture – Queen of Blades
UltraKiller – Death Race 3000
Restraint – Wardance
Noiger – Even If We Fight (feat. Leslie)
Euglossine – Dryocampa Messenger Service
Isolated Infants – Chapel One

*EDITOR’S NOTE: CLCKWS’ album was actually called Popular Polarization, not Polarized Population as stated. Apologies.

Please support the artists featured.

Want all the music, but with no interruptions?

Here’s a playlist of this show’s music:

Independently curated, recorded, produced, and edited by The Soundshark.

All episodes so far can be found here.

The Secret Tsunami Club thumbnail lovingly produced by Julia Klein.

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The Secret Tsunami Club – S1E03

The Secret Tsunami Club - S1E03

‘Music can’t make waves, if you don’t know it exists’ – The Soundshark.

Broadcast #3, from a realm in time and space that has intercepted two hours of the best in under the radar, underground, and unsigned music.

This is the Secret Tsunami Club.

Tracklist:

Liotta Seoul – Paper Blossom
Dandelion Massacre – Sunshine Fade
Nikki Nailbomb & The Amorphous Blob Orchestra – G.T.F.O.
Resilia – Royal Flush
Satyr – Bird
Intronaut – Pangloss
Dystopian Future Movies – Black-cloaked
Solkyri – Shambles
BEAR – Apollo’s Heist
Neon Graves – Lost Cause
Vane – The Cannibal
Jim Noir – Hexagons
Emme – Wake
Red Mecca – Canticle
Only Child Tyrant – Solid Grey Zebra
Deer Mx – Biting A Spectrum
Nevada Hardware – Hybrid Machine
Amelia Arsenic – Deathless
Baddon – Abandonware
Vulta – Spacedrift
Tesen – Parasite
Muten & Sekev – Blue Mango
SWAG KING – Black Rays
Art of Algebra – Silent Times
YSTLG – It Will Always Rain For You

Please support the artists featured.

Want all the music, but with no interruptions?

Here’s a playlist of this show’s music:

Independently curated, recorded, produced, and edited by The Soundshark.

All episodes so far can be found here.

The Secret Tsunami Club thumbnail lovingly produced by Julia Klein.

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The Secret Tsunami Club – S1E02

The Secret Tsunami Club - S1E02

‘Music can’t make waves, if you don’t know it exists’ – The Soundshark.

Broadcast #2, from a realm in time and space that has intercepted two hours of the best in under the radar, underground, and unsigned music.

This is the Secret Tsunami Club.

Tracklist:

False Heads – Rabbit Hole
The Hypnophonics – Black Gloves
Pure Reason Revolution – Silent Genesis
Septa – New Motive Power
Elephant & Centipede – Parabole
Telepathy – Pariah
Azusa – Monument
The Callous Daoboys – Blackberry DeLorean
Igorrr – Very Noise
Drip Fed Empire – 3301
Across The Kingdom – My Colours
Lost In Lavender Town – Kermit The Hedgehog
Not My God – Fiction
Garçons – Hades
Raveyards – Pressing
N A T U R E – Awake
Meister Lampe – Goddess Rati
Mexico City Blondes – Road Noise
Julia Marcell – The Odds
Polypumpkins – Downtown Escape
Elay Arson – Switchblades (ft. The Encounter)
Dissident Noize Factory – Techno Firepit Skank
Beardyman – Every End Is A Beginning
Highlights Of A Modern World – Griefox
The Dept. Of Phantom Limbs – Slouching Towards Bethlehem

Please support the artists featured.

Want all the music, but with no interruptions?

Here’s a playlist of this show’s music:

Independently curated, recorded, produced, and edited by The Soundshark.

All episodes so far can be found here.

The Secret Tsunami Club thumbnail lovingly produced by Julia Klein.

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The Secret Tsunami Club – S1E01

The Secret Tsunami Club - S1E01

‘Music can’t make waves, if you don’t know it exists’ – The Soundshark.

Broadcast #1, from a realm in time and space that has intercepted two hours of the best in under the radar, underground, and unsigned music.

This is the Secret Tsunami Club.

Tracklist:

The Foreign Resort – Outnumbered
Slime City – You And Everybody That You Love Will One Day Die
Beachmasters Of The Universe – High Noon, High Tide
Steaksauce Mustache – Dance Cops
Sleep Token – The Offering
DOUX – Lousy
Zeistencroix – Wake Up
Johnny Deathshadow – Suicide Boys Club
Skullcave – Offend, Repeat
Damn Craters – Monomyth
Drip Fed Empire – Mk3
Nightlives – Ways Of Making You Talk
Fatal FE – Starshine
Capital X – In Us We Trust
Josie Pace & Sammi Doll – Perfect Replacement
Fee Lion – Blood Sisters
REIN – Closer To Reality
Sayton Spencer – Paralysis
Occams Laser – Return To The Arcade
Watch Out For Snakes – Scars (ft. Megan McDuffee)
VHS Head – Camera Eyes
Epsilonite – Lexicon
OaT – Fever
Silk Road Assassins – Familiars
Bone Cult – Feed On You

Please support the artists featured.

Want all the music, but with no interruptions?

Here’s a playlist of this show’s music:

Independently curated, recorded, produced, and edited by The Soundshark.

All episodes so far can be found here.

The Secret Tsunami Club thumbnail lovingly produced by Julia Klein.

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The Soundshark’s Top 10 Albums of 2019

I feel like I go through the motions every year, repeating the same diatribe, but this time, there is a minor change of circumstances, and even a little bit of excitement. After all, who knows what can happen next in this crazy time we live in? As the site, and ourselves by extension, enter a new decade, one that hopefully that leads to plenty of promise, and one that can only dismay us from the gradual doomsday scenario that the planet seems to be sliding into of late, we glance back one final time into the 2010s (the tenties?) and upon the last year’s worth of music. Compiling this list was somewhat difficult this time around, as I appear to have forgotten more incredible albums than I remember listening to. Even then, to get to the point of narrowing down a contendership of just ten albums, the list was very much disputed the entire time. Alas, the list was finally cemented, and here’s what delights 2019 provided my, and now potentially your, earholes.

Continue reading

Live Bite – Johnny Deathshadow/Spectral Darkwave/Lady Rage/Prescription Happiness – The Unicorn, 28/10/19

At the beginning of the working week, and as the final countdown to Halloween, the outskirts of Camden houses Halloweek, a series of gigs and events hosted by curious free house The Unicorn, a mostly modern featured, open planned boozer, with opinionated locals who very clearly voice their disdain for live music as I scrutinise the bar, and a decently sized function space and stage for where tonight’s events would unfold.

I grab a beer, perch upon one of the many stools facing dead opposite the stage, and await tonight’s openers, Prescription Happiness. The inset and outset play out as moments best described as voices inside your head, akin to the Gene Wilder tunnel scene from the original Chocolate Factory film but eerieness switched for overwhelming dread. Initially their sound evaded an immediate touch point, their music oft feeling reminiscent yet totally their own. Half of their set borrowed from modern metal staples, Sempiternal-era Bring Me the Horizon and Slipknot being immediate reference points, but the other half an eyebrow-raising concoction of Korn, Incubus and most solid hard rock bands. However on record, there’s more of a Tokio Hotel comparison and that also becomes evident frequently. Without a shadow of a doubt though, these are boys with thick tones, and their breakdowns are plenty sizeable in stature. Despite a heavy emphasis placed on the screams, the clean vocals impress far more, and draw some emo-esque comparisons into their already head-spinning influence pool. The quartet’s set ends with Quietly Falling, a tremendous groove-laden number that scratches a future radio airplay itch if it hasn’t already. Their half hour elapsed rapidly, undoubtedly heavier than hardcore, yet not quite heavy enough to tussle with the bruisers of metalcore, not that they were trying to. 

The beginning of Lady Rage’s set is regrettably missed, after an awkward run-in with the Johnny Deathshadow boys face painting in the gentleman’s water closet, so I hasten to finish my business and make it back to the stage. Very much in the spirit of Halloween, a pumpkin, Beetlejuice, Harley Quinn and whom I believed to be Freddy Krueger, though I’m reliably informed they came dressed as the drummer, unleash a wall of noise that bridges that gap between Hole and The Distillers perfectly. Unmistakeable, ferocious, scuzzy, grunge-soaked, riot grrrl punk, with plenty of melodies to back it up. That’s without mentioning a bass tone with serious clout, and their vocalist, the aptly named Siren Sycho, having terrifying power behind her screams, and being able to maintain such a formidable strength consistently. Their repetoire busts out a cracking cover of Billie Eilish’s Bad Guy too, taking on the form of the Rolling Stones or T-Rex butting heads with Brody Dalle, and that is exactly as good as it sounds. Wholly entertaining enough to watch again, their set includes a guitar-bass duel, a song titled ‘Not Joan Jett,’ and another that ravages social media, while live-streaming their set on Facebook, so while not quite as angry as face value implies, these ladies present themselves just as talented as they are self-depreciating.

While also in the spirit of Halloween, though just their regular stage attire, the misleadingly named Spectral Darkwave stepped up, masks, monocles, and sunglasses upon leather clad vestments, addressing us to what was assumed to be hurtling through the space-time continuum. A name like that, you would expect perhaps some sort of gothic metal influx atop synth. Not even remotely close. Instead, what we get is far more progressive, sludgy, almost straying into doom territory at times from this trio masquerading as Lovecraftian time travellers. Musically, their assault is airlock tight as they dive through dirges often about war and the horrors of mankind, bar the odd track about elephants or the death of a red giant, each track assimilating subtle characteristics of its era or subject matter, a very clever writing touch. They bare some sonic resemblance to Mastodon or even Opeth, with a constant growl dictating their narratives, but interspersed with some light-hearted jibes between songs. It ends up endearing towards the end, something only a British band could accomplish comfortably. Some waves of synth and programmed symphonic brushes do fade in and out, giving a sense of ethereal gloom, but ultimately this spectral entity oozes sludge and a metric tonne at that.

At one point, Johnny Deathshadow introduce themselves as Germany’s most loved party band, before announcing that their next song is about cancer, and that sums up their performance pretty succinctly. Playing London for the first time in their careers, their setlist contained an excellent variety of old and new material, of blistering and nuanced paces while squeezing most of the hits in (Black Clouds, Dark Hearts admittedly a surprising omission). Their stage presence flickers between intimidating and intimate, minor sexual frictions dotted throughout their performance, and their show itself is nothing short of masterful, light choreography alone granting gravitas worthy of a band playing a thousand capacity crowd than a small pub on the fringe of Camden. Red Rain opens aggressively, the chorus of cries offsetting the white hot intensity that rarely lets up the whole show. The skull-faced quartet scorch through four of their best from latest album D.R.E.A.M. which next to Red Rain, include a stripped back yet even more fiery rendition of Legion, and a fittingly melancholy Embers. Paying tribute to their punk roots, Under His Eye ignites with the headbanging crowd as does several of the set’s second half including Bleed With Me fan favourites, the archetypical Neue Deutsche Hart groove of Apocalypse Trigger, and the ground-stomping sway of Shadow, before concluding on the exhilarating Kill The Lights, and they even finish with streamers. Blood red obviously, but such an unexpected delight at the end of a storming set.

Johnny Deathshadow jokingly remarked that the band would be dead in the water had they started in the UK, crediting the trio of bands they had shared the stage with that night, but the Hamburg group played with such passion and zeal, and with the aura of bonafide superstars, the performance felt every part special as they had intended. Poor attendance aside, this industrial metal troupe’s ascent can hopefully be a slow-burner, German gothic circles excluded, as live and on record, they are destined cult heroes in the making and a fearsome sight to experience.

Setlist:

Red Rain
Trauma
Legion
Embers
Sleeper
Forever
Under His Eye
Ghost
Apocalypse Trigger
Shadow
Kill The Lights

 

PRESCRIPTION HAPPINESS

www.facebook.com/PreHappiness
http://www.twitter.com/PreHappiness
www.prescriptionhappiness.net

LADY RAGE

http://www.facebook.com/ladyrageuk
http://www.twitter.com/ladyrage_uk

SPECTRAL DARKWAVE

http://www.facebook.com/SpectralDarkwave
http://www.twitter.com/SpectralDark
spectraldarkwave.bandcamp.com

JOHNNY DEATHSHADOW

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

THE SOUNDSHARK

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Track of the Week: Gutlocker – Deeper Underground

If you were an advocate for Woking being a vibrant cultural metropolis, it may be understandable to warrant a raised eyebrow or two. While the community of Woking is certainly a explosion of diversity in the best sense of the term, visually, half the town is caked in rubble due to a massive scale rejuvenation project currently ongoing. Yes, while this Surrey terminal serves as the spiritual home of H.G. Wells’ War of the Worlds, (perhaps fitting because of the reconstruction), the headquarters of the World Wildlife Foundation, and has been the birthplace of many of this country’s contemporary cultural heroes, it doesn’t quite have the looks to match its significance and contribution to the arts… yet. Aesthetics aside, Woking musically has given us national treasures like The Jam and Status Quo, and is responsible for recent trailblazers like Palm Reader and Employed To Serve. That said, the notion of tearing everything down and buiding it up stronger, bigger and better, suits fellow Woking noise merchants Gutlocker, and their gargantuanly proportioned cover of Jamiroquai’s Deeper Underground lifted from the Godzilla soundtrack of 1998. After all, this is a band that wrote a song about Woking called Welcome To Fucktown.

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Leading in with heavy bass tones and the rings of guitar distortion, it sets the ominous tone of the original perfectly, nailing the synth’s foreboding ambience, and injecting their own sense of dread. Those cymbal taps underneath too twist the screws of tension to come. We don’t quite get the grandiose orchestra-esque notes before the first verse, as much as controlled chord rips to conclude the introduction go, but when frontman Craig McBrearty projects his beginning almighty scream, it serves the catalyst for a rip-roaring thrill ride. The famous groove that helped catapult Jay Kay and crew to the top of the UK charts is faithfully recreated, but undeniably grittier and oozing machismo that surpasses the crystal clean, subdued production of its progenitor. A subtle, impressive improvement is the volley of machine-gun style bass kicks that accompany this groove also, driving that sheer raw energy into a speeding freight train human might has no hope of stopping.

Delivered at an increased velocity, the soulful melody that once was is eviscerated with piercing shrieks still enunciating fantastically at speed, arguably with a faster flow that could embarrass many of hip-hop’s finest, which transforms into this formidable bark hurtling into the chorus, exhibiting strengths in Craig’s vocal abilities that are eye-opening to say the least. And the overall tone of that chorus couldn’t be further from the original’s minimal funk, sharing more in common with trying to survive the playground of a Leatherface or Jigsaw Killer-type onslaught; intense, crazed, and frightening. Fearing moments where it could slip into campy aggression, Gutlocker keep the bulldozer in high gear, leading to an endlessly satisfying solo bassline, the quieter spoken word beneath somehow unnervingly more sinister than the imposing screams already experienced, left to grind away the glimpse of an escape before certain doom encroaches on us all. Doom it certainly becomes, in which slowing the chorus groove down invokes the spirit of Sabbath, yet the climax teters more on the side of a forceful pummeling, than chatting with the Grim Reefer.

If a record label sat down with Randy Blythe and Dimebag Darrell to ask them to tackle famous soundtracks from the late 90’s, this could’ve been the result. Gutlocker’s take on Deeper Underground is inspired, befitting of their energetic, often seismic presence, and at the expense of some brawn, amp up the atmosphere to morph a record-selling series of catchy hooks, into a horror fetishist’s album collection. Side by side, their frankly hilarious music video with Outright Resistance’s Michael ‘Grandad’ Worsley stealing the show as… uh… Godzilla, shows that there is humanity and humor in their craft, no matter how dark or deep into the abyss of the soul Gutlocker are willing to dive inside.

 

Deeper Underground is out now on your favourite streaming services and all respectable music retailers. Their previous EP Cry Havoc! and all of their merchandise can be obtained via their Bandcamp. Gutlocker are stalwarts of the UK metal scene and tour regularly so keep an eye closely on their social media for upcoming dates, or bring them to you if you’re that way inclined.

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