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
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.
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.
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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
On the 11th March 2018, something short of ground-breaking was announced on the social media outlets of one of the world’s most renowned progressive metal groups. Tool had entered the studio to record what has become their now fabled follow-up to 2006’s 10,000 Days. While this news has become a revelation and an answer to many a collective prayer (or keyboard warrior whinging, depending on how you view it), Maynard himself put on record at Metal Hammer’s Golden Gods ceremony that the new Tool album will most likely see the light of day in 2019. Affirmation is one thing, and commitment another, and while 2019 is just around the corner, chances are that will be the absolute bare minimum Tool’s global cult following will have to wait for a new sonic masterpiece. One more year after the twelve of relentless internet hyperbole and immeasurable anticipation that proceeded it, is surely doable, right?
Instead of preparing for what may end up becoming a mass exodus from the workplace on the day that album is released, and following the unexpected success of this article’s predecessor, The Soundshark has put together ten more bands from the underground, worthy of your time, until the musical gap has been bridged by the band themselves. To touch upon briefly from previous feedback, you won’t find Karnivool on this list, or any other list on this site themed similarly, as while not entirely known around the planet at present, they’ve had large enough worldwide success to be able to tour anywhere they see fit, which surely evolves beyond underground status.
Semantics aside, let’s begin:
I’ll be among the first to admit that 2017 is now a fading memory in long and short terms of immediate recollection. After all, we’ve reached a quarter of the year in already and only now do I find myself reflecting on and scrutinising the year past, since coming to terms with my current situation. Of which I feel is moving in a more positive direction. That said, while my own personal presence took a negative slant in the seventeenth year of the new millennium, musically, there was such a creative surge of magnificence which resulted in many, many excellent albums being released. Also one such reason for this list being delayed as it is. So, with ever-so-slightly wistful eyes, The Soundshark casts its spotlight on my ten favourite albums released in 2017, and for your listening indulgence:
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: