Futures Are Changing, But Their Futures Are Still Black

The following account is of factual events that took place on the 27th October 2016, between the hours of 7 and 10pm. No details of this account have ever been made public. Until now.

I’m early. I’m not often early for a lot of things. In fact, I’m so early I have to wander up and down the street and take refuge in one of the cheapest London pubs I’ve ever set inside, waiting for to validate my invitation. But a little after 8pm, a gentleman sporting the Black Futures insignia arrives outside Wandsworth Town station, I weave the password into my conversation with him and he presents me with a blindfold, and told to await transport to the secret location. Of what I know of Black Futures media, their imagery resembles some kind of VHS propaganda reel, but nothing that was to resemble the theatricality of what was about to happen.

Once enough attendees had gathered, the chauffeur asked us to enter the transport and put on our blindfolds. In the brief journey towards the venue, around about 5-10 minutes in length, there was music playing under the guise of Black Futures Radio; short instrumental MIDI renditions of songs, interspersed between stingers and amusing interjections from its monotonous host. I seem to remember the best one about ‘having a funny feeling in my nether regions,’ or something similar at least. Little were we to know at that time, that what was unconsciously infiltrating our ear drums was a mere taster of the sonic assault to come. While the radio provided some light relief and entertainment, it didn’t stop the feeling of foreboding, being driven around on London streets, in a vehicle full of strangers, to a location you knew nothing about.

At the location, I just about made the shadow of gates opening before the path, and driving down to what looked like an abandoned film set of sorts. Outside, flanked by personnel in hazmat suits taking photographs of every attendee, heavies in suits instructed us to place our phones in envelopes or we would be refused entry. Happy to oblige, I did so without first telling my other half that I wouldn’t be able to be contacted for an unspecified amount of time. You can imagine how that went, especially after telling her the last thing that happened was that I was just given a blindfold. Anyway, we were directed left into a room, filled with more hazmat personnel and two giant dispensers filled with ‘social lubricants’. The drinks could only be dispensed by ringing a bell, or honking a horn, dependent on which you wanted. The folk in the suits and googles remained silent throughout, pulling glasses from underneath which they kindly filled and only once pouring half a litre of gin, to top up the more popular of the two dispensers. Yikes. The room itself had little in the way of furnishings with two sofas, in a room filled about thirty odd people, but was filled with very curious paintings, photographs and instruments around. It seemed elaborate, like a lot of thought had been put into the decoration of this venue, deliberately like some kind of scientific experiment and we were the test subjects.

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After a period of time for guests to mingle with one another, the room opposite in the hallway is unlocked, and we are welcomed inside a studio, outputting a frequency that feels like its properties could brainwash onlookers if exposed to in the right circumstances. Maybe that was the idea. But beyond the mixing desk and monitors, lay drums, microphones, a keyboard and a guitar, and a curious wall in the background which had a screen display inside what resembled a large sewage pipe opening. The door is then closed, the frequency is shut off and with the onlookers and myself all making ourselves as comfortable as possible, the producers known only to the world as SPACE and VIBES slowly emerge from the darkness and start the show.

With their first song, distorted, crunchy guitar opening up proceedings and thunderous booms of bass, before erupting into an apocalyptic big-beat bombshell that would bring a tear to Liam Howlett’s eye. The scathing refrain of ‘ten minutes to the end of the world,’ is unnervingly relevant, given the earth-shattering size of the music that surrounds it, and the visual element of strobe lighting in the performance really enforced the urgency and magnitude of their two-pronged attack. After three and a half minutes of electrifying energy, the storm subsides and you could be mistaken for thinking for more of the same is on the way. But this is where things begin to change, instead revealing a whole new dimension of influences that made for a truly mesmerising listen. Straight into now brand new single Karma Ya Dig!?, waves of reverb and delay wash over both sets of vocals and synths, unveiling a strangely soothing psychedelic ambience that certainly caught me by surprise. These two gentlemen’s vocals also harmonise so well together, that the phrase ‘I’ll see you on the other side,’ has lingered ever-presently in my subconscious since this day. A pseudo-industrial stomp gets us underway with a near punk-like sneer taking vocal duties, marching us towards a titanic guitar riff that wouldn’t go amiss in Britpop’s heyday and an overall vibe that feels reminiscent of The Chemical Brothers, albeit slowed to a pace you can headbang to. It certainly affirms that the big beat era of dance music circa 1990 onwards, has had a profound effect on this material. As if today’s electronic music producers and a punk band recorded together in a garage. It’s gritty, intense and energetic but without sounding lo-fi or unpolished. Astronomically far from it.

I must admit, that while their eight song set was nothing short of inspiring, it moved in a blur. I recall one track that had a dancehall style beat, some later present indie rock style influences and one track that which reminded me firmly of Does It Offend You, Yeah?, which in their own whirlwind of genre-smashing, is nothing but a compliment. They are an absolute sum of the parts of the people that work as the unit. SPACE, an in-demand punk and hardcore producer, with a reputation in the desert rock community to boot, and VIBES, a multi-talented instrumentalist and electronic music producer, that works with an abundance of live acts in and around London. Their union has formed something undeniably unique, and witnessing the translation of their chemistry together in the flesh with such a striking and impactful live performance, and the interactivity before the performance even took place, has made me fall in love with these gentlemen and get overexcited over what was to come. It truly was a privilege to be invited along and be part of this undoubtedly intriguing and involving movement.

The opportunity to see it for yourselves, lies on the 5th October at Bloc in Hackney, 8:30pm start. Prepare for an immersive dance experience unlike any you’ve ever encountered. If you want a further testimonial, I left that night with new friends, whom I realised I shared a closer connection to, than just being attendees to this exclusive performance. And I’m often a painfully awkward individual. If that isn’t something that asserts the power or the spiritual significance of the Black Futures experience, then I don’t know what will.

Join the Existential Expedition Club right here:

http://www.facebook.com/BlackFutures
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Chester And Me

Petrusich-Chester-Bennington

I don’t take much pleasure in writing these sorts of things, but I feel that putting thoughts and feelings into words, can alleviate some of the gravity that Chester Bennington’s death has had on me personally. Honestly, I spent a good hour after glimpsing the headline, willing it, imploring for it not to be true, and someone had started some sick joke, like the occasional internet prankster will instigate fake death rumours of minor celebrities. I refused to believe it, outright defiantly unless it came from Linkin Park themselves. And an hour later my heart sank, as Mike Shinoda, a man whose craft I have respected for over 15 years, confirmed it was the truth.

I was very quiet that evening. Trying to process the disbelief and shock I’ve found myself in. 24 hours later and it still doesn’t seem real. I still don’t really know what to say. But I want to try and give you an idea. Even if it seems nothing but an incoherent stream of thought.

I became aware of Linkin Park’s existence around 2001, maybe 2002, when Kerrang was first available on my parents’ TV and my mum would play the In The End video whenever it came on. She loved that song so much, she bought it on single, in a time when singles from a plethora of musical talents came on CDs and were easily obtainable in the same capacity. I too grew to love the song, so much so that years later, I would perform Mike Shinoda’s rap parts in front of my high school class, with two other friends. I looked ridiculous in a short sleeve shirt with dragons on and spiked up hair, but whatever, I was only 12 years old. The deal was that for the performance, I would do the rapping parts, and my friends would sing Chester’s parts, and I complied with their request. Almost. The problem is the simplest words can be the most powerful, and the most catchy, and without trying to steal their spotlight too much, I couldn’t help myself. To this day, the vocals on that bridge are something I still aspire to mimic perfectly. Voice breaking aside, 16 years on I’d like to think I’m getting somewhere close. But I could say that for a lot of Linkin Park’s vocals. There are just some songs in their discography, that specific moments have a certain emotional frequency or delivery that I wish I could imitate. In The End. Somewhere I Belong. Paper Cut. Waiting For The End. From The Inside. Breaking The Habit. I can’t scream to save my life, but the contests I would have to try and hold that scream near the end on Given Up. Truly crazy.

The main contact, or true constant that Linkin Park really had on my life however, was in 2003, the year Meteora was released, and the year my parents’ marriage ended. That album was on repeat in my mum’s car to and from school, so in a sense, you could say that Meteora was the soundtrack to my parents’ divorce. I never truly saw it that way until recently when I listened to that album in full again a few months ago. It was never the most pleasant time in my life, I won’t lie, but I didn’t associate that album with bad memories, and I don’t now, having listened to it irrespective of that time period. I still think that album is incredible, quite honestly. Yet… With Chester’s passing, it does feel like it will eventually become another form of closure on that part of my life. I have grown so much and far beyond that 10 year-old boy I remember, that any lasting impact seems so superficial now, but the imprint of Meteora and the raw emotion in those vocals, it still has a connection to that time, and it does sting right now.

I have never claimed to be their biggest fan. Hell, I can’t stand Crawling and Numb by them. Conversely, I loved it when Jay-Z fused Encore with Numb, for some reason I enjoy it a lot more because of it. Numb has some truly powerful words in it, but there is a self-destructive anguish in it that is incredibly overbearing to me, and I find it hard to enjoy it for that reason. Yet whenever they were releasing a new album, especially after following Minutes To Midnight, I’d give the new single a chance. Results varied. I liked some of them. I didn’t like some of them. What I think matters more is I’ve always admired their guts to experiment with their sound despite the public reaction.

But even as I reach close to a quarter decade in age, Chester’s words, emotions and influence are still finding a way of speaking to me.

The bridge of Somewhere I Belong currently feels like words to live by right now, as I try to make a better life for myself. Leave Out All The Rest has always been a song I have considered for my funeral, and nowadays does make me cry. Lord knows I might be in hysterics when I hear it next. The beginning of Faint I truly consider to be one of the greatest song openings ever in terms of immediate impact and hook. Points of Authority will always be a staple of DJ sets for me. And as far as trying to match his vocals goes, nothing will stop me from trying. Maybe one day I’ll be able to nail them, but it just goes to show how deep his presence has been through out my life, and perhaps why this latest loss in not only the rockstar realm, but in the battle against depression and mental health issues, cuts far deeper than I realised.

Another extraordinary talent, that seemingly succumbed to his demons.

Rest in peace, Chester.

Normally, this is the part of the article where I make a quirky plea to like, follow and subscribe to the site if you so wish. Given the sombre nature of this piece, I’m waiving that gesture for this, but if you feel that you want to, then the links to do so are here:

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Track of the Week: Dye The Flux – Lunacy

This has been a moment years in the making. A moment arguably in the making since the 31st October 2013. The date when Dye The Flux released their first EP ‘SHARK!’ to a room of 50+ people at the University of Surrey. A moment so vivid it shall no doubt live on in my memories. But this is not about living in memories, Dye The Flux have always been all about looking forward, hence why since the release of their terrific debut EP, they were already laying the groundwork for the next release. A release that experienced multiple complications before it reached this point. While quickly reaching the upper echelons of Guildford’s incomparably diverse live scene, an unfortunate wrist injury to their bassist, backing vocalist, and founding member Ieuan Horgan took them out of performing, and almost performing together again. Tasked with either his replacement or calling it a day, the boys instead went in separate directions, waiting out a year’s gruelling rehabilitation, of which a complete recovery was eventually made.

Finally returning to the stage with new material in hand, two years since their last appearance, and with a new drummer in tow, Dye The Flux’s live return was an emotional one, built on frustration, anger but sheer joy in persevering in the face of adversity. Yet it seemed as soon as they were return to the stage, they seemed to disappear off of it just as rapidly. To continue writing for could’ve been labelled their fabled sophomore EP. Admittedly, there has always been the tenacity and work ethic of this talented four piece that has never stopped them doing what they’ve loved. So despite a second drummer departure and months of songwriting and production with acclaimed producer Jason Wilson, we arrive here a little under four years later, at the first glimpse of their second EP ‘FOX’ and the welcome sound of four warriors, who only know to fight or die and have returned to tell their tale.

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Credit: Yulia Hauer

As has become their calling card, sizeable, urgent chords lead us in alongside punchy percussion, instantly pulling you into a fast-paced fistfight that’s as captivating as it is ferocious. Bright, clean vocals put the madness of society and the human condition to rights, delivered with a confidence and a smirk that is endlessly pleasing amongst the raucousness of the riffs bombarded at you. Perhaps an indirect nod to the notion of insanity, but the refrain of ‘Lunacy,’ frequent throughout, partnered with both the wah-infused hammer-ons and rapid snare bashes is such a powerful hook, you’ll be humming it for weeks. Whether it can be called a chorus or not, stripping it back to a single guitar, rolling off riffs near-effortlessly, while vocals harmonise, backed by drum rolls that sound like cannon fire, serves as just as powerful a hook, steadily increasing tension as it does so. And the intensity only shifts from gear to gear. Chords gather pace, interspersed between quick, fiery licks, and you can physically feel the danger level heightening with every note change. The tipping point is reached at the solo; a passage of double-time picking, with the second guitar throwing authoritative blows to the face and snares and cymbals issuing a countdown to chaos. Bass soon matches the speed of the fast picking, a feat technically impressive in its own right, and after tremendous restraint, the thrashing beast that has threatened and been teased for the course of the song is finally unchained. It really serves as an excellent metaphor for lunacy in motion, the loss of inhibition and the inevitable loss of control we could find ourselves in, inside and outside of a live environment. This is only agitated by the new found snarl in the vocals, a pummeling of aggressive chords and guitar gallops, and drums keeping the adrenaline pumping, while showcasing a far greater technical prowess than we’ve seen before. And we end on the note of four musically skilled gentlemen looking far more feisty than we saw three minutes ago.

It’s truly difficult to pin down an exact comparison point for sound, former Surrey stalwarts Reuben being the closest reaching example, yet passing instances of Deftones, Incubus and even Biffy Clyro, glimmer and fade just as quickly in Lunacy alone. But any claims that they embody any of those bands, does not do them any justice. What music they have created over the last four or so years shares a certain hardcore sensibility with any of those bands for sure, but their sound is ultimately theirs and theirs alone. Lunacy is cathartic and at times, nerve-shredding, but one of the most thrilling three-minute bursts of music I’ve undoubtedly heard this year. All it shows that Dye The Flux are hungrier, harder-working and as passionate as ever, and as a band constantly looking forward, and with the breadth of talent they possess, we can see that the best is certainly yet to come.

Lunacy is taken from their second EP ‘FOX’ which has yet to be released, but you will find it available once it is, on their Bandcamp page. You can purchase Lunacy on Spotify and iTunes in the mean time. Live dates are also yet to be announced. Right now, you can listen to their previous EP ‘SHARK!’ on their Soundcloud, and can only get your own physical copy from them in person. You could probably get a digital copy from them too if you asked them nicely, but I’ll leave that up to you. Buy a shirt whilst you’re on their Bandcamp anyway.

Write them a love letter and tell them I sent you right here:

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

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20 Bands And Artists You Should Listen To In 2017

It seems very few people utter a breath about 2016 any more. Probably for good reason, it seemed very much like a culling of revered figures and idols of popular culture, let alone a universal gasp of disbelief at what idiocy we may have unleashed on the world. 2017 isn’t really fairing any marginally better in that department, by a hair strand at best. But whisper it: The music is fantastic. If you want to invest in it of course. Admittedly, this list was compiled at the inset of 2017, but as the halfway stage of this year rapidly approaches, it still holds as an all-star ensemble of killer bands you may have overlooked, some yet to release their brand new material and some you may never have heard of. It seems like a solid enough foundation for this article to still exist, while maintaining some resemblance of relevance. That, and you may be reading this, looking for some new music to listen over the summer. Let’s get started, shall we?

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The Soundshark’s Top 10 Favourite Live Performances of 2016

So this is a first for the site, as somebody sworn to never do live concert reviews, a run-down of ten stand out live acts that I’ve seen over the course of 2016. And I’ve seen a lot of them. It’s pretty self-explanatory really, only I’m not exactly reviewing them, just highlighting why they made this list. This isn’t limited to headline acts by the way. The only exception that I have made is to try and limit festival appearances, as there were numerous bands seen in the space of a day at some festivals that could’ve made up lists of their own. And I have had to discount one entry that should be on this list, that of being The Offspring and Bad Religion at Hammersmith Apollo. The reason being counting individual performances, both were absolutely superb on the night, more than satisfying the inner 13 year-old in me and being hard torn to pick a favourite, just makes it easier to disallow it altogether. Sorry, no joint entries for this one. Without any further ado, here’s who played stellar live shows in 2016:

10. Raveyards @ Camden Underworld (supporting Perturbator w/ Dan Terminus) – 08/06/16

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Credit: Eva Vlonk Photography

Bands like Raveyards perfectly demonstrate why you should always try and check out the support bands for a live show. Knowing nothing of them, walking into Underworld with half of the stage consumed by mesh netting, projection screens and one of the most elaborate live musical setups I’ve ever seen was an eyebrow-raiser. Every component of an electronic music performance was in their control and performed in real time, with their expansive shadowy atmospherics and gigantic beats, matched with a kaleidoscope of visuals made for a spell-binding spectacle. Spectators seemed happy to have the space back afterwards, but Raveyards’ attention to detail alone has to garner recognition.

http://www.facebook.com/raveyards
http://www.twitter.com/raveyards
http://www.soundcloud.com/raveyards

9. Allusondrugs @ The Black Heart, Camden (w/ Fizzy Blood, This Years Ghost and Snakes) – 03/08/16

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Always a band on the cusp of greatness, the Yorkshire grunge revivalists played a packed Black Heart and showed everybody why they are one of the most talked about live acts going in the UK right now. Switching between slower psychedelic pinches and frenzied fuzz slammers, all delivered with their inescapable talent for writing infectious hooks, I went into this show, having had some personal bad news that day and left with joy and an affirmation of life once more afterwards. They near had to be dragged off stage after a storming 45 minute performance, but such is their allure and brilliance of their music.

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

8. Youth Code @ Electrowerkz, Islington (w/ Shallow Sanction and Evestus) – 14/10/16

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Credit: Nick Fancher Photography

If there ever was a band that embodied controlled chaos, then Youth Code is that band. Marking their debut in the capital city with their revisionist approach to industrial and EBM, there is no wasted movement from beginning to end of their set, both Sara and Ryan screaming and launching themselves across the stage in a frenetic display. Despite a breadth of luscious synth arpeggios and skull-rattling drum machines, it’s their sprinkle of hardcore, that makes every word screamed at you personal and elevates Youth Code’s all-out sensory assault to an absorbing war dance you never want to end. Can you say: the next Ministry?

http://www.facebook.com/youthcodeforever
http://www.twitter.com/youth_code
youthcode.bandcamp.com

7. Jean-Michel Jarre @ The O2 Arena, London – 07/10/16

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It kinda goes without saying, that when you go to see a concert from somebody widely regarded as the Godfather of Electronic Music, as a pioneer whose forays into music and technology span 40 years and a former world record holder for the largest outdoor concert ever, you’re in for a spectacle. And having missed the chance six years previously to see him, he did not disappoint. Ever the showman, touring through his greatest hits and his frankly superb Electronica project, his inspiring ability to flawlessly recreate every nuance of his work, live, to a visual extravaganza that evolves much like his compositions can only cement his legacy as one of the most influential figures in modern music.

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

6. Petrol Bastard @ Resistanz Festival (Corporation, Sheffield) – 25/03/16

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I do wonder how many people have said at a Petrol Bastard show, that the duo played their dream set list. I certainly can. Opening up Resistanz Festival in Sheffield’s Corporation was a 45 minute performance piece about masturbation, drinking and violence set to an unrelenting techno, gabba and drum and bass soundtrack… and it was some of the most fun I’d had all year. Forcing crowd participation with a tide of inflatable penises and unforgettable slogans, and with a little help from Johnny Ultraviolence, this crude, colourful riot was impossible to ignore and left many smiling from ear to ear. Plus how many gigs let your girlfriend try to sexually assault one of the band members with an inflatable penis?

http://www.facebook.com/petrolbastard
petrolbastard.bandcamp.com

5. Monster Zoku Onsomb @ Boomtown Fair, Winchester – 12/08/16

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Out of the inconceivable number of bands and pass times at Boomtown Fair, these guys could’ve been easy to miss on one of the smallest stages around. But once in range, you couldn’t escape from them and those onlookers in attendance never wanted this madness to end. A troupe of Australian musicians specialising in belting rave tunes, spanning a whirlwind of tempos, spliced together with B-movie references galore and occasional 60’s surf guitar, happily run amok in their 45 minutes on stage. Choreographed dance routines, inviting an adult baby on stage and what may have been a declaration about being in Eurovision 2017 only added to their unique brand of electronic dance carnage.

http://www.facebook.com/mzofanpage
monsterzokuonsomb.bandcamp.com
http://www.monsterzoku.com

4. Toska @ The Boileroom, Guildford (EP Launch Show w/ Eschar, The Deadlights and Steal Rockets) – 27/02/16

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Possibly the only headline band I have ever seen without knowing a single thing about, was also one of the most astounding. Made up of three quarters of melodic hard rock starlets Dorje, Toska sacrifice none of that intensity and churn out wave after wave of instrumental metal bliss, hurled at such force you’d think there was an earthquake. The energy they emitted could’ve powered large city blocks and their respective talents are hypnotizing to observe; simply everything about their performance was immense in stature, given their debut recorded release. They made crafting invigorating, progressive music seem so effortless and it was an absolute pleasure to watch them at work.

http://www.facebook.com/officialtoska
officialtoska.bandcamp.com

3. Lionize @ Desertfest London (Camden Underworld) – 29/04/16

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In what is somewhat a recurring theme on this list, I went to watch Lionize, only knowing that they were Clutch’s in-house band and left absolutely speechless. Imagine if James Brown had fronted a balls-to-the-wall rock band and invited Bob Marley along as a touring member and that merely scratches the surface of what these gentlemen can do on stage. Ferociously charismatic and passionate beyond all belief, Lionize toured a myriad of genres and had tremendous fun doing it, all with every attendee transfixed at this true powerhouse of a performance. I’m surprised the Underworld didn’t burst having to contend with holding these guys back, one of the most impressive modern rock bands alive today.

http://www.facebook.com/LIONIZEMUSIC
http://www.twitter.com/LionizeMusic
http://www.soundcloud.com/lionizemusic
http://www.lionizemusic.com

2. Kowloon Walled City @ Camden Underworld (co-headliners w/ Minsk, also w/ Bossk and Wren) – 03/09/16

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Credit: Maria Louceiro

Credit where credit is due, Bossk were also spectacular on this night, but for a band that had never stepped foot in the UK before and had come to the end of a near two-month tour of Europe, emotions were always going to be high for these guys. Kowloon Walled City’s use of conveying so much intensity and feeling into their tone, while being pulverising in the same capacity, makes every note gripping to behold and very, very few bands can even touch them in making sludge sound so breathtaking. Spanning seven songs across 45 minutes, this set made a titanic statement as why Kowloon Walled City could be considered one of the best bands on the planet.

http://www.facebook.com/kowloonwalledcity
http://www.twitter.com/kowloonwalled
kowloonwalledcity.bandcamp.com
http://www.inthewalledcity.com

1. Placebo @ Wembley Arena, London (w/ Minor Victories) – 15/12/16

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What more can be said about Placebo? Never has a band resonated with me emotionally and spiritually as Placebo has and likely I wouldn’t be where I am today without them. Hell, I wouldn’t have a degree for starters. But there could be no more fitting show for them to play in their hometown on the 20th year of their inception. The atmosphere was electric and applause rapturous as the band strode through a terrific career-spanning set, that touched many through melancholy but lifted everyone through liveliness. Lyrically they have few peers and musically, their grunge-embezzled attack sounds as fresh as it did in June of 1996. Arguably, one of the UK’s greatest cultural phenomenons.

http://www.facebook.com/officialplacebo
http://www.twitter.com/placeboworld
http://www.placeboworld.co.uk

I hope you enjoyed my selection, and if you agree with these choices, or enjoy the writing that’s on this site, then you can show your appreciation through a like, a follow or subscribe to the site using the link below:

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Rusted Doors

In our darkest hours, when we feel we have little left to turn to, music has become a light in which we can take our solace in, and a source of hope when our knees bear heavy the burden of what humanity has in store for us. Without diverting too far from the subject in question, these are troubled times we live in, no matter what walk of life you’re from. The world feels on the brink of a new political and economic Ice Age, and whatever transpires in the months to come, global census on the matter seems right to be worried that the timer to doomsday is quickly counting down. The Mayans would be only five years out with their prediction, should it come down to that. The Middle East, with Iran (or the Islamic Republic of Iran) fixed in the centre, has never really been known for its musical endeavours, at least sparsely in the Western world and if you were to speak of rock music, a positive response may need to be heard behind closed doors. And one such positive response can be heard behind closed doors, of a certain rusted variety. Despite being near the epicentre of turmoil troubling the region, Tehran’s Rusted Doors (formerly Rusted Doors of Heaven) base their music not on the surrounding conflict claiming so many lives, but on a different, more human conflict that can be just as fatal. The conflict inside the body. Physically and emotionally. This conceptual basis lends itself to some of the most incredibly evocative and stirring instrumental compositions post rock has spawned in recent years.

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Their album Tale of a Departure scores the story of a character simply known as ‘Nobody’ and chronicles his struggle with depression and illness before succumbing to death, leaving his spirit to observe the suffering and sorrow of his loved ones left behind, unable to protect them. There’s no two ways about it; this is a bleak, haunting depiction of a scarily real scenario that happens every single day, which makes what music accompanies it that much more absorbing and affecting. Something else that makes Rusted Doors’ music that much more fascinating a listen, is their cultural interpretation of a widely renowned genre of rock and its most notable instance, is in their most recent single Huntington. Named after the titular disease that degrades the brain’s cells, it is an unraveling of nine and a half minutes of melancholy, simmering to a boil through the means of funk-driven bass, soft reverb-kissed strums and skins bashed in such a manner that pace and tone matches neither celebration nor ceremony. Around two minutes in, an aggressive fuzz swamps the guitar tone and the drums begin to make headway, bass kicks leading the charge to where you feel the journey will take flight. But quick as speed picks up and volume skyrockets, it’s silenced just as fast. A wave of ambience hushes the beat to a simpler meter, while what previous warmth the music was building is subjected to a sudden chill and into more ethereal territory. The guitar slowly starts to bring abrasion back to the forefront and the drums creep back to tribal levels of complexity in this new found realm of frost. But as duration stretches to seven minutes, fragile tension is finally broken and a flood of emotion explodes forth, sorrowful in its timbre but startling in its execution. All phases of this song illustrate what a roller coaster fighting illness can be to your very last breath and the effect on those closest to you, right up until the final note. It gives perspective to how others cope with this situation. Rusted Doors chose to write a song about it. You may go for a walk or a quiet drive to help you reflect or distance yourself. But whatever life’s challenges throw your way, music will be always be a tool to give people reassurance, comfort and hope in those moments where there seems to be none, and Rusted Doors are a prime example in both a world similar and dissimilar from our own.

 

The album Tales From A Departure and Huntington can be found on Rusted Doors’ Bandcamp page on a very kind pay-what-you-want basis, although please give generously if you feel this is tremendous music as much as I do. The band is hoping to play live more into the New Year and looking into potential festival appearances if possible, but your best source to find out for certain is on their social media.

If you have enjoyed what you have heard of this talented group of musicians, please let them know via the following channels:

http://www.facebook.com/rusteddoors
http://rusteddoors.com/
https://www.instagram.com/rusted_doors/

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