Robert Reid 9/11/25 Robert Reid 9/11/25

L’Idylle

It is not sheer power that thrives after devastation. The tallest, mightiest oak can still be felled. The forest and prairie can still burn. What once thrived, what began, is no more. But the natural world is resilient. Yet purple echinacea thrives in the aftermath. The wildfires accelerate the seed production, the pollinators sup on its nectar. The lupine thrives in the nitrogen rich soil. The seeds of the black pine flourish in the heat of the blaze. So too does L’Idylle mimic nature, destroying and rebuilding, presenting Romance / Violence newly recorded by founding members Nolwen and Louis with the addition of Thibaut and Mathilde layered into the band.

Romance / Violence is a testament to the craft of great screamo, in the hands of excellent musicians. The songs were originally recorded and released as a “demo” in November of 2022, and were originally composed by Nolwen (guitar) and Louis (vocals). As the band evolved, Mathilde (drums) and Thibaut (bass) planted seeds of their own, and the resiliency of the songs demanded regrowth.

To compare and contrast the songs side-by-side there is a certain charm to the originals. The vocals have a certain presence and warmth to them. Whereas the original recordings call out with the DIY recording spirit, the new versions are all improvement. Nuance and subtlety is not mired by the mix, vocals sit nicely in a way that makes them intelligible (if you speak the language) but also part of the instrumentation. Comparing the opening drums of “Tendre Jasmin” feels almost unfair in the improvement brought about in this rendition. In a surprising twist, the album was mixed by the bands’ friend and hip-hop artist, 2soon, and then finally mastered by Bad Bean Mastering (Florent from Lorne Malvo).

The band noted that this was the first time they have included people outside of the band in their recording process and “it was a lot of fun to be surrounded by our talented friends. It really helped us to bring the best out off the songs.” It absolutely shows that the melding of minds produced something which captured the dichotomy between beauty, the ambient reverse delay guitar riffs in ‘Memphis Lorna’ with an element of ferocity. Though I must admit that the pummeling riffing of ‘Tendre Jasmin’ does later balance beautifully clean passages before a fuzzed out anthem that feels familiar, like we’re sharing the same space both physically and ideologically.

That familiarity is also part of a core sound that has been paved firmly by the bands primary influences for these tracks. While the band cites Bay Area darlings, Loma Prieta, they’re also quick to call out Daïtro and Birds in Row, their kin from France. I’d be remiss if I didn’t say you could find hints of this brand of European screamo, drawing comparisons to French quartet Aussitôt Mort, and Italian legends Raein and La Quiete. I’m not making an attempt at hyperbole, but there is something sonically that these bands all seem to share. It’s not just in the language, and the flow of the lyrics, sonically these artists share qualities which help maintain some certain, fucking forgive me for saying it, je ne sais quoi.

“THE OVERALL THEME OF THAT EP IS TO BRING OUT IN A CATHARSIS ALL THE ANGER, FRUSTRATION AND ANXIETY CREATED BY THE ILLUSION THIS WORLD CREATES. WHEN YOU’RE BECOMING AN ADULT ALL THE ILLUSION AND HOPE YOU HAD FOR THIS WORLD ARE BEING FRACTURED LITTLE BY LITTLE.

WE THINK THAT ONE WAY TO BRING PEOPLE TOGETHER IS TO ACCEPT THESE EMOTIONS, TO BE OKAY WITH BEING VULNERABLE. WEAR YOUR HEART ON YOUR SLEEVES AND COMMUNICATE, YOU WILL THEN KNOW PEACE.”

- L’IDYLLE, @L_IDYLLE

At first it may seem that the wildfire regrowth metaphor is red herring, just hook to bring you in, but it was inspired by the band and their willingness to bare their souls to the world. “It's about the realization of one’s faults and flaws, weaknesses and mistakes. The need to change, to let go of a part of oneself, to accept the fact that something inside must die in order to grow,” the band writes. “Metaphorically we must set ourselves on fire so that the seed within can flourish”. The story of a youth, “unhappy, self-loathing”, seeking something, anything, to fill the emptiness. The sundering within, the spark of emotions lit fires, cleared the way for beauty, love, wonder, and change. This is the story of L’Idylle, a band who have refined their craft, quite literally, on Romance / Violence.

“IT’S THE END OF A CHAPTER FOR US AND TIME TO OPEN ANOTHER ONE. A WAY TO BE AT PEACE WITH EVERYTHING WE HAVE WORKED SO HARD FOR DURING THESE LAST THREE YEARS. IT’S ALSO A WAY TO BECOME PART OF THE FRENCH SCENE AND TO IMPLICATE OURSELVES MORE IN A GENRE WE LOVE AND THAT MEANS A LOT TO ALL OF US.”

- L’IDYLLE, @L_IDYLLE

These tracks demonstrate the potential L’Idylle posses. While it’s taken me longer to write the review than I’d care to admit, I’ve put serious mileage on these tracks, soaking them in, letting them getting under my skin. Sure, I can only fish mouth the words Louis sings, but the pantomiming feels comforting as I recognize that I am, even still, like the self-loathing youth, looking to something to occupy the void.

While you’re stuck waiting for the band to work on new material, you can take solace in the fact that Romance / Violence is out now on Fireflies Fall Records.

L’idylle is Louis on vocals, Nolwen on guitar, Thibaut on bass & Mathilde on drums.

Follow them on Instagram here : L’idylle

Writer : @garevthistle

Editor : @just_reidz

09/11/25

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Robert Reid 9/9/25 Robert Reid 9/9/25

Spring Colours

Evolution is the driving force behind all progression in life. It’s the spark that brings variety to all things we enjoy and that’s quite evident in all music, but rarely is it more glaringly obvious than in the fusion of electronic tunes with other alternative music. Spring Colours, a five piece synth-tinged midwest emo band from Toronto has embraced evolution whole-heartedly with a revisit to their original self-titled and self released EP, released initially March of 2020 but re-worked, re-imagined, and re-released almost exactly five years later, in March of 2025.

“We originally wrote these songs by passing each other back and forth Ableton and Guitar Pro demos between three of us, but once we originally dropped the EP the pandemic shot down all prospects of playing it live.” says Lukas (Guitar/Synths) about recording the initial tracking of the EP.

Lukas expands on how the band’s evolution necessitated a renewed version of the recording reflecting the growth and expansion of the band.

“SINCE THEN THE BAND HAS GROWN FROM A 4 PERSON GROUP TO A 6 PERSON GROUP, AND THEN DOWN TO A 5 PERSON ACT, WE WANTED TO CREATE A SNAPSHOT OF HOW THOSE SONGS EVOLVED AFTER ALL THAT TIME; WAY MORE SYNTHS ADDED, PARTS CUT AND MOVED AROUND, AND FINALLY, MORE VOCALS ALL AROUND. THESE RECORDED VERSIONS HONOUR HOW WE NOW PLAY THESE SONGS LIVE!”

- LUKAS, @SPRINGCOLOURSBAND

Lukas has played music with David (Guitar/Synth) and Susie (Drums) since they were 15 years old and are joined by Sean on the bass guitar and Amani playing Synth board. They all sing. Harkening back the early 2000’s with chiptune drenched indie sing along anthems reminiscent of bands like The Anniversary, Postal Service, Her Space Holiday, and The Faint, the band has formulated a sound that is familiar but with a fresh take that doesn’t feel regurgitated or formulaic. “I'd say we all have an appreciation of 2000’s synth and indie rock music that isn’t afraid to get dynamic and it was especially true of these songs. I remember sonically pulling a lot of influences together to create a sound that we resonated with, and as a first release there was a lot of freedom to do so.” states David about the concept and theme of the record.

Describing the re-recording process, it’s clear the band holds tight to the DIY spirit by recording, mixing, and mastering everything themselves. It was done ”exactly how we did it 5 years ago, but better! It was all recorded in a basement, including drums, bass, guitars, synths, glockenspiel, each handled by one of us with me engineering the entire process.” Lukas tells us.

With themes of heartbreak, the monotony of work, religious guilt, and really just the fallout of living a modern life, the ideas are thrust forth upon you with a back and forth serenade of gruff, gravelly-shouting blended with harmonizing vocals that flow with ease to tell tales everybody can relate to. “We were all really appreciating so much twinkly-emo and really wanted to blend that in with electronic elements, and that emo influence came through on the lyrical themes as well, with themes of falling out with friendship, falling out with love, and falling out with 9 to 5 jobs.” Lukas tells us. “So I guess the overall theme of the EP is about having a fall out with different facets of your life.”

As for continued evolution, the band is currently working on a full length record and is planning some upcoming shows outside of their local hometown. David reports they're “about 80% wrapped up on an LP which would be a first for all of us that we’re thrilled about.” They also have a show booked for September 12th at the Monarch Tavern and according to David are “trying to play more shows outside of Toronto and seeing what other scenes are happening in and around Ontario!”

With this reconstruction and new rendition, Spring Colours has accomplished something every artist strives for in the end-fulfillment. They’ve re-envisioned their original recordings to be true to what they’ve grown to be as a band and released a more complete version of the original record which reflects the music the band strives to continue to create. Lukas tells us “It feels really good to see these songs become Spring Colours songs, rather than songs or parts written by me or David and played by Spring Colours. It's just cool to really be a band that's all on the same page.”

Spring Colours is David / Lukas on guitar and synth, Amani on the synth board, Sean plays bass, Susie plays drums, and everyone is on vocal duty.

Follow them on Instagram here : Spring Colours

Writer : @skramz_zaddy

Editor : @just_reidz

09/10/25

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Robert Reid 9/8/25 Robert Reid 9/8/25

igotmytopsurgeryatclaires

Today I’m reviewing my first bedroom screamo act on Not Just A Phase. For those of you who are new to the screamo genre or just haven’t fallen down the rabbit hole of all the subgenres that have branched off screamo yet, let me explain: “bedroom screamo” is composed, performed and recorded in a bedroom. It’s as DIY as you can make screamo music and the subgenre as a whole is probably the main reason Focusrite and Reaper are still in business. The recordings are often lofi, giving the music a warm, homemade sound and feel. Outside of the quirks of the production, the genre is otherwise limitless in form, allowing full creative freedoms in songwriting.

They really do get freaky in the bedroom — as we’ve seen in the genre bending of fifth wave of screamo, bedroom screamo will incorporate any and all emo subgenre elements from twinnkly emo, to third wave “mall emo,” to classic hardcore and powerviolence, or jazz and whatever the hell else they wanna do. You want hyperpop or the bleeps and bloops of electronica, IDM, and glitch? Sure. Again, the genre is a hotbed for experimentation.

Today’s band igotmytopsurgeryatclaires is a one person project coming from the Bay Area of California and the experimental stylings on these tracks knows no limits. These songs were recorded in their car as opposed to a bedroom, proving that nothing should stop you from making the art you wanna create. Inspired by other bedroom screamo acts such as askyfullofstars, Calendar Year, ispentsixhourswatchingshockvideosyesterday, and Yours Forever Yours (a frequent collaborator). This project utilizes DIY writing and recording to its full extent while pushing their vocal cords to the absolute brink of extinction with a vocal style that’s often referred to as “kittencore.”

Lemme explain, “kittencore” is a vocal style in which the vocal range being screamed is as high pitch falsetto as possible. You scream these notes above your vocal range and as hard as you can until your pitch and voice cracks and breaks literally resembling the sound of a kitten mewing or being squeezed too hard. It’s often a vocal style only accomplished by young people since your vocal cords can’t register notes high enough to bend and break the way this vocal style demands. It must be terrible for your vocal cords to be honest; I can only imagine the damage if done too often. That said, this is a style that’s definitely not for everyone but those who like it certainly appreciate the stylistic charm.

How does music so bizzare get composed you might wonder? “Writing comes pretty naturally to me. I've been writing poetry extensively since middle school, and I've always been a proud writer and storyteller. I've tried writing songs with little luck throughout high school, I’ve always had a hard time with melodies, so screamo has given me more opportunity to allow my lyrics to shine without putting so much weight on the right notes and chords. Screamo is chaotic and gorgeous.”

Taking the bedroom screamo term to the literal road with their music, trans artist Serenity is the brains behind the project here and tells us of their unique recording process: “I live in my vehicle so recording literally takes driving to a desolate spot to scream. I usually record with my acoustic and run it through Garageband, and I program synths, bass and drums. It's a pretty straight forward process.”

Today we’re honoured to be premiering a new track for them that’s inspired by seeing the brightside in the full circle of life. “The theme of this single is quite literally the title: a flower. I was given a flower as a gift the day I almost lost a lover and realized, as people pick pretty flowers for their lovers, they kill them in the process. But we never see it as dead. Even if sun-dried and wilted, it still gets hung up or passed around to those we care about. A flower so pretty never falls into the wrong hands, even when murdered. This is a single about love, loss, grief and the silver lining of hope through desperation.”

as you grow in the soil through these rains,

you become a flower

forever to hold and to keep

though it's ripped from its root

the flower never falls in the wrong hand

sun-dried, it steals all that's left to believe

I can't see a future without you

would you be a flower for me

forever to hold and to keep

would you be a flower for me

forever to hold and to keep

when you're dried and live no more

I can still hold you as if you're alive in my hands

forever in the hands you can't feel

you're held so close

and will forever remain, in my eyes, alive

flowers can never die

she's so alone, and she can't cry, she's

breathing soft as the wind breaks

though she's alone, she won't cry for you

I can't see past all of the things they say about me

it consumes my thoughts like roots to the earth

once rotting and left to nothing but time

with nature and teeth to consume what’s left of me

This version of the release was mixed and mastered by Serenity Claire, with support from Sonnenwende. “Flower” is a single from an upcoming album scheduled to be released.

“THIS ALBUM TOUCHES A LOT ON THE DESPERATION OF LOSING YOURSELF TO LOVE AND WANTING TO “DO BETTER”, YET CONVINCING YOURSELF YOU DON’T KNOW WHERE TO START AND ALLOWING YOURSELF TO STAY IN A CYCLE ‘TILL IT’S TOO LATE AND YOU’VE BLOWN UP EVERYTHING AROUND YOU. SELF-HATE, SELF-LOVE, SELF-DISCOVERY”.

- SERENITY, @IGOTMYTOPSURGERYATCLAIRES

“This song was one of my most emotionally inspired songs, and I am so grateful for the opportunity to work with Sonnenwende to create this gorgeous sound. I have an album, Tremors, coming out in the next few months, as well as an unannounced split/collaborative EP with an artist whose sound I look up to heavily coming after Tremors! Tremors has about six tracks on it ranging in sound from bedroom skramz to punk to beatdown / hardcore. There's also a hidden bonus track only available on CD.”

This is the last single before the full album drops and we were left with some closing words to reflect on: “"Screamo isn't just about the riffs and breakdowns, it isn't just about punching each other in the face. Screamo is a movement, hardcore is a movement, punk is a movement. If can't wear the brand without the ideals.
Thank you to Animal Jam and Cardiac Kitten Records for believing in me, thank you to Sonnenwende for the incredible talent and dedication put into this collab, and thank you to everyone for listening!"

Follow the band at the social linked below and be sure to keep your eyes and ears on their creative process as they continue pushing borders and boundaries with their experimental DIY music.

igotmytopsurgeryatclaires is Serenity on vocals and all instruments heard on recordings.

Follow them on Instagram here : igotmytopsurgeryatclaires

Writer : @just_reidz

Editor : @garevthistle

09/08/25

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Robert Reid 9/3/25 Robert Reid 9/3/25

Emma Goldman

Emma Goldman is fresh off the road from an eastern Canada tour. We’re amped to showcase a brand new music video for y’all to vibe with. This Canadian Skrammy Award nominated band is a major contender this year in the category of “Best Screamo Album” for many valid reasons. Their latest album juxtaposes their heavy themes (and even heavier instrumentals) with a great mix of feral, larynx-shredding-screams counterbalanced by beautifully well sung vocal work. Couple all that with the classic emo trope of utilizing snarky song titles to add some fun into their work and lighten the load a little.

With song titles like “we’re corporatizing polyamory” or “it rubs the boycott ketchup on its brand new slacks,” and my personal favorite, “at rock bottom I was a piss girl,” you get two messages with this album: capitalism is killing us and Emma Goldman haven’t let the evils of this world break their spirit (yet). Despite the serious nature of this album, this is clearly a band who loves what they do and that’s a shining light of hope in a world that they’re trying to change into a better place for ourselves and our futures.

Emma Goldman’s band name derived from the Russian-born anarchist revolutionary, political activist, and writer of the same name. It should come as no surprise that their latest album “all you are is we” wrestles with themes of the crushing weight of capitalism, the evils of marketing and advertising, the rise of fascism in our current hellscape, and facing your broken dreams.

Today’s music video premiere for “I seem to be an adjective” is one of the more pit-focused and mosh heavy tracks of their release. The track stays rooted in the dark themes and harsh realities present on the album by speaking out against the rotten stigmas and stereotypes cast upon drug users all while the music video showcases the band playfully dancing on the grave of a fallen company, showing us that above all: you gotta take the wins where you can get ‘em.

“WE REALLY WANTED TO CAPTURE THE FEELING OF SEEING YOUR DREAMS SLIP AWAY TO AN INCREASINGLY FACISTIC SOCIETY, RATHER THAN BEING DIDACTIC IN OUR LYRIC WRITING.

BECAUSE OF THAT WE’VE TRIED TO INTERJECT MOMENTS OF JOY AND CELEBRATION TO THE MUSIC, WHETHER IT BE WITH OUR INTERLUDES OR THE DANCING IN THE MUSIC VIDEO.”

- EMMA GOLDMAN, @EMMAGOLDMANBAND

Taking time to delve into the efforts behind the music video and the philosophies and experience behind their music, the band says, “In many ways this album is very pessimistic and not just because we're wrestling with topics like the toxic drug crisis or labour tensions, but also because we're trying to tap into those topics from a very personal and emotional perspective.” While that introspection gives us a sampling of Emma Goldman, vocalist Victoria and the rest of the band members all found some time when they were on the road during this last tour to write back to us and catch up with Not Just A Phase via a short written interview.

SHOOTING THIS VIDEO IN A CLOSED MALL TO ME VISUALIZED A TIE IN TO THE ALBUM ART AND SOME OF THE ALBUMS THEMES WHICH SHOWCASE THE EVILS OF CAPITALISM. ASIDE FROM THAT, WHERE DID THE INSPIRATION FOR THIS MUSIC VIDEO PREMISE COME FROM?

Honestly part of the inspiration simply came from the Hudson Bay Company, the oldest company in Canada, and a main perpetrator of the colonization of Canada, was shutting down all it's department stores across the country. Katayoon, the director of the music video, had the idea to get some footage in the department store during its last week. We all thought the vibes of a mostly empty, messy department store fit well with the themes of the album so we went for it.

HATERS WILL SAY THIS MUSIC VIDEO WAS SHOT ON A GREEN SCREEN, ANY TRUTH TO THAT?

Our original concept was inspired by an old Gabber music video called “Cherry Moon on Valium,” which had people dance in front of a green screen. The two ideas came together organically and we all really liked the idea of dancing on the detritus of late stage capitalist excess.

HOW DO YOU SUGGEST WE CREATE SOME POSITIVE CHANGE IN A CAPATLIST SOCIETY THAT GROWS MORE EVIL BY THE MINUTE?

Talk to your coworkers, find out how you can organize your workplace, get involved with your local tenants union. There's no better way to figure out what you believe in and what your values are than by writing about it and sharing your art with others. If you're unionized, get involved and push the union toward a pro-Palestinian stance. Take the time to find joy in art and music.

Emma Goldman is currently finishing up a tour of Eastern Canada right now. They’re playing several shows this fall, including a couple of shows with incredible touring screamo bands. “We're playing with your arms are my cocoon, Jisei, and Coup D'état on September 14th at Green Auto in Vancouver. On October 6, we're playing with Usurp Synapse, Miscomings, and Komos at Red Gate in Vancouver.”

“After our Eastern Canada tour we plan to start writing music for the next album and organizing our next tour. We've had such a great time in Ontario and Quebec, so we want to come back soon, but we also want to try to plan a tour somewhere outside Canada.”

My fellow canucks should catch Emma Goldman live at the next chance you get and all the international readers and Emma Goldman fans should grab a copy of their album on cassette or one of the few remaining vinyl copies left at Zegema Beach Records.

All we truly have is each other, all we can do is be the change we want to see. Emma Goldman forever, all we are is we.

Emma Goldman is Victoria on vocals, Félix on guitar & vocals, Hayley on bass, and Pavel on drums.

Follow them on Instagram here : Emma Goldman

Writer : @just_reidz

Editor : @garevthistle

09/03/25

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Robert Reid 8/29/25 Robert Reid 8/29/25

ENDLESS

Daniel Secord is a man of many wonders who I’ve been privileged to know and consider a friend of mine for many years now. The man’s got a big smile and an even bigger heart that yearns for the love of cats, big ol’ naughty riffs and having a damn good time. A scene-ior citizen from my local hardcore scene with a resume boasting several heavy projects in his past like Hostage and The Cassandra Dilemma. Now Daniel is crushing mics again with his new band ENDLESS.

It’s an honor to be debuting the first ENDLESS single, “Passion of Grief,” on Not Just a Phase. Dan’s vocals are once again the call to arms for a metallic hardcore band that’s bringing flavours from the golden era of metalcore out into our current world. Influenced by veteran acts of the game such as Through the Eyes of the Dead, Unearth, Until the End, Parkway Drive, The Acacia Strain, A Life Once Lost... You get the picture. The band is currently as DIY as can be and is self recorded by Dan himself in the lab at his home, affectionately named “Cat Piss Studios”.

The upcoming album is a tale of battling your inner demons and overcoming depression; it’s a victory over your own inner monologue and a testament to how music can help heal us all in a therapeutic way. All of which was learned, fought, and earned before striking the first note.

“For me personally, this album is important because of the amount of work I’d put into it. Writing, learning, teaching, recording, and producing are a lot of work on their own, so to say that this album has consumed me would be an understatement. I’d been in a pretty deep depression for the last few years of my life, and I feel that music, recording, and producing was put on the backburner. It’s terrifying when the one constant in your life loses its color. When one of the few things that brings you joy stops doing that, there’s a big fucking problem,” Dan tells us. “Needless-to-say, I’ve managed to get my spark back and this album is an expression of riding that wave, praying that I don’t lose my motivation and love of music, again.”

“THE BIGGEST TAKEAWAY I’D LIKE TO SEE FROM THIS BAND IS THAT THE MYSPACE ERA OF METAL AND HARDCORE IS ALIVE AND WELL. REALLY THIS PROJECT IS A THROWBACK TO WHAT I FEEL TO BE A BETTER TIME FOR MUSIC.”

- DANIEL SECORD, @905ENDLESS

“This is our first release, so we’re feeling things out. Typically, when writing lyrics, I like to focus on what pisses me off in life. In this album, I touch on the current state of politics, failed relationships both romantic and platonic, the war on the middle class, depression. You know, all the stuff that keeps us up at night.”

For ENDLESS bass player, Steve, this album is also more than just music as he tells us of how this project is a personal war story of his own that parallels Dan’s redemption arc. “This band has sentimental value to me for a few reasons: Dan and I go back twenty three years (it’s a rare thing to be able to say, but I knew him when he had hair). Many attempts were made to work together, but the stars just wouldn’t align until ENDLESS. So there’s a quick history lesson. Fast forward to more present times and getting the opportunity to work with the guys has blessed me with a musically therapeutic support system.”

“This is not just a gig, this is a cancer comeback band for me. From Dan never giving up on my side all the way up to meeting Josh and Mike who never thought twice about things. This is a very special thing that I don’t take for granted. I feel like I’ve been a handful to these guys, I’m lucky to be here and I know it.”

In terms of what’s next for the band, it seems to be an open ended question at the moment. Dan tells Not Just A Phase “We don’t have much in the way of goals, this band is more so for fun than anything and takes on a very laid-back approach which has proven to be successful for us. We’d all like to play some shows, maybe do a couple of weekend tours, make some friends along the way, and release some music that we are proud of. Ultimately, I feel like we’re friends before anything else and we don’t want goals and aspirations to muddy the waters, so to speak.”

For closing thoughts Dan would like us all to take a look at the current ways in which we consume music, as we’re clearly all ‘going to hell in a handbasket’ as they say. “Buy physical media. Read the lyrics. Listen to full albums. I’m a 90’s kid and music used to mean a lot more to me. The oversaturation of the market has really done some terrible shit to the industry, and really, to music as a whole. A lot of the creative spirit is lost in the noise of constant releases by an abundance of bands or musicians.”

“The attention span of most listeners is ten seconds these days and if you don’t have a hook right off the hop people move on to the next thing. It’s a race to the bottom. This formula isn’t sustainable, and it’s no wonder AI is forecasted to take the place of art in our society. You have an opportunity to combat that, but it starts with a choice.”

ENDLESS are off to a heavy start out of the gate with more singles to come, including an upcoming track releasing through Trash Culture Podcast. The band has plans to play some local shows around Hamilton, Ontario and potential weekend tours and dates out of town schedules pending.

Their guitarist Josh Evans leaves us with some closing thoughts on the album: “We’ve put a lot of work into this band and making this EP happen, I’m hoping that when people get a chance to finally hear it they dig what we have done. It’s got stuff for the metal heads and the hardcore kids. I’m hoping when the EP is out and we start playing our shows people are into it. We want to make people move, come to a show, don’t be shy, beat some ass.”

As a big fan and supporter of Dan in all that he does I’m very excited to see and hear him back in the lab and creating something natsy-heavy for everyone to rage along to. Be sure to give ENDLESS a follow at the socials linked below and keep your head on a swivel while ya headbang to this one live cause I’ll be taking my fatass outta mosh retirement for some therapeutic movement when showtime comes around.

ENDLESS is Daniel Secord on vocals, Josh Evans on guitar, Steve Stercho on bass, and Mike Goldstien on the drums.

Follow them on Instagram here : ENDLESS

Writer : @just_reidz

Editor : @garevthistle

09/01/25

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Robert Reid 8/19/25 Robert Reid 8/19/25

BITCH JAGGER

BITCH JAGGER is back with their classic flavor of early 2000s hardcore punk. They’re coming fast and heavy from the very busy punk scene in Los Angeles, California with a nostalgic sound for oldheads by oldheads. Inspired by bands like Carry On, Lights Out, Go it Alone, and the peak 2000s era of Rivalry Records.

Quick movie quotes and well chorused gang vocals demand quick pile ups and take me back to a time where almost every show I went to was a sea of camo with band merch basketball jerseys and backwards fitted hats. BITCH JAGGER’s got those heavy tom stomps, raw vocals and endless circle pit rhythms with enough quick-wrist action in the fast picking patterns to remind us once again that hardcore is an evolution of punk music and not just a reason to throw breakdowns into heavy metal.

You want a real review? They don’t make ‘em like this anymore. Raw writing, raw production. The passion and aggression comes through every second. Five songs, five minutes, no bullshit, no filler. This is the type of hardcore that was written back when no one called it “crowdkilling.” We just called it “you shouldn’t have been standing there” because you knew damn well what you were getting into when you came out to a show.

It was dangerous, it was exhilarating, and most of all it was fun. From their tongue in cheek band name, to their sound, to the way they just wanna show up and play, BITCH JAGGER has brought the fun back into hardcore, this is what it’s supposed to fuckin’ be about.

Catch one of their live shows for a little yelling and sing along, blow off some steam, dive on someone, jump onto a fucking pile, put on your dancing shoes and have some fuckin’ fun with some consensual violence amongst friends. BITCH JAGGER feels like home.

‘I never needed love, I never needed much, I thought I needed acceptance but I was wrong.’ This music is all these dudes need, the type of passion in their songwriting here makes my old ass wanna speak on how hardcore is so much more than just music and a community.

To some of us this is the shit that’s kept us moving forward all these years. ‘Everybody and everything still means the world to me.’ Very fitting lyrics to end off a five minute blast of a time capsulized hardcore sound I fondly admire and romanticize.

I’ve had many funny chats with their vocalist Jimmy about life and hardcore, and very recently asked a few questions in a semi-professional manner regarding this new demo that he considers “A true traditional posi-youth-crew-hardcore-punk album that actually sounds of era and not part of this ‘revival’ trend picking up all a sudden. Something pure and nostalgic put out by guys who love and respect the scene and values they came from. An album that would age well presenting what we feel is missing in today's current hardcore scene, Integrity and humility”.

So where do we see the future of BITCH JAGGER headed?

“I JUST WANT SMALL ROOMS TO PILE UP HARD AGAIN, IF PEOPLE SHOUT MY OWN LYRICS BACK AT ME THEN I’D CONSIDER THAT WINNING THE LOTTERY”.

- JIMMY, @BITCHJAGGER_YXCXHXC

BITCH JAGGER IS A RELATIVELY NEW BAND, BUT Y’ALL LOOK & SOUND LIKE VETERANS SO WHAT’S THE HISTORY HERE?

JIMMY: All of us grew up and played in the SoCal hardcore scene through the early to late mid 2000s-2014. Justin (guitar), and Chris (bass) were in a band called Young Favorites, they also were both in a Band called Die Laughing. Chris (bass) also played drums in The Mistake and The Love Below, Both Chris and Justin are also currently in a band called Big Infant with Jason the drummer from Xibalba. Evan (Drums) played in Hecho Mal and Los Corruptos as well as Nakatomi Plaza. Fritz (other Drummer) played with the English Beat and is the original and current Drummer of the Steady 45's. I myself, Jimmy, played in First Fight and Like A Champ.

WHAT DOES THIS RELEASE REPRESENT TO YOU AND WHAT DO YOU WANT IT CONVEY TO THE LISTENERS?

JIMMY: This release is special because we know and feel deep down it represents a purer form and approach than most in the current hardcore scene, we really hope it finds its way to new and old hardcore audiences and inspires a little more unity, selflessness, and tradition to keep a scene thriving. We're all happy hardcore came back but I think what's going on today is completely different, social media has kind of turned the world and all of us in it into selfish ego maniac narcissists with zero attention span.

Trends dictate the flow and suck and kill the things we really loved and cared for. In no way am saying everyone and everything and all current bands are fake or whack, I'm just saying it's very different, there seems to be a lot lacking in the messages and music and more imitation of the visual aesthetic and image.

SO WHAT’S NEXT FOR THE BAND IN 2025?

JIMMY: A music video is next up on our plate, we've been planning this video since the EP started taking its final shape and definitely excited to put this entire time machine we've been working on all together.

Right now our biggest goal is to play more shows and find our place in today's hardcore scene, we'd really appreciate a label as well. Personally I just want see and feel the room pile up again but other than that I think a split release with another hardcore band would be rad, hit a tour in June & July so that was another. We just dropped our EP too so there's three milestones in a year right there so we’ll have to see now I guess.

ANY CLOSING WORDS FOR THE READERS?

JIMMY: Free Palestine and Fuck I.C.E.

ACAB every single one of them! Black lives Matter and fuck our (USA) current dictatorship and its cult. Time marches on, with or with out us so enjoy life and the people around you.

LOOKING OVER was recorded, as well as mixed and mastered, by Mike from the band Gotlieb, he also lends his voice to a few of the songs. Robot Cannibal Records is putting the demo out on tape in September.

BITCH JAGGER is Jimmy on vocals, Justin on guitar, Chris on bass and their drummer duty is split between Evan and Fritz, depending on who is available.

Follow them on Instagram here : BITCH JAGGER

Writer : @just_reidz

Editor : @garevthistle

08/20/25

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Robert Reid 8/15/25 Robert Reid 8/15/25

Bubble Scary

Bubble Scary is the most powerful band in emo right now and as soon as the world catches onto that, we’re all gonna be in a much better place. When you cite sonic influences that range all the way from Ampere and Bob Dylan, to Sonic Youth and Have Heart, you know you’re doing something truly special and experimental. Unbridled energy remains frantically tapping its foot even through the leisurely and calm parts of their compositions. You can feel the mood of every song fully capable of boiling over at any split second with no warning, and often they do.

The first thing you notice about Bubble Scary is that the drums and bass are two completely different roller coaster rides that link up on the same track line occasionally, but every time they’re on separate paths, they’re building their own individual stories that tie flawlessly together to complete a composition far beyond an average locked in rhythm and groove.

Now that’s just what’s supposed to be “the basics”, aka the rhythm section, and words can’t fully describe the intricacies and chaotic jazzy-mathy-proggy-arrangements. They’re not cooking with gas they’re cooking with ether (which is a much more quick to ignite flammable substance if you’re missing the point of this ridiculous analogy). The foundation laid out has more layers than an onion and we haven’t even begun to touch the surface yet. Guitar licks, taps, hammers-ons and pull-offs, all dance in-and-out of the bass and drums to bring another level of beautifully organized chaos that probably looks liked an audible seizure through musical tablature.

At the helm of the pandemonium we have vocalist Chuka Stergios serene and siren-esque vocals that lull and enchant listeners to be willingly seized by the unpredictable cyclone that is Bubble Scary. Nothing moves up, down, or sideways without the vocals explicit direction and permission.

During a chat I had with the band I mentioned how hilarious it is that they’re the “best screamo band to never actually scream” when I got hit with “Jane from toldnottoworry called us indieviolence” and I laughed like an absolute madman at that, (I’m still laughing at that), because it’s the perfect descriptor for the words I could not find. I had a chat with all four members of the band about their innovate sound and plans for the band as we draw close to wrapping up another amazing year of DIY music.

**WHAT WERE SOME OF THE INSPIRATIONS YOU HAD ALL DRAWN FROM WHILE WRITING THE FEATHERWEIGHT EP?**

COREY: I feel like on this record I was consciously thinking about things that Ampere and Unwound do in terms of songwriting and basslines specifically. Ampere specifically has a lot of busy basslines that interact with the guitar in interesting ways, so I was trying to channel that (especially in Erased & I can be honest). In general I feel like we are always pulling from Ovlov and Polvo. I was also certainly listening to a lot of old folk and country while writing this record, so I was trying to keep things as simple and true as possible in my role as bass.

JACKSON: I am probably most influenced by Ampere and Mount Eerie, especially when it comes to our most recent EP. Both acts seem very different but they share a rawness that I wanted to also be present in the music I’m a part of.

MIGUEL: The first bands that come to mind in terms of my drumming style are probably also Ampere and Unwound. I was also playing and listening to a lot of jazz at the time as well, which I try not to consciously think of when writing the drum parts but I’m sure it has an indirect influence on what I play and write.

CHUKA: It’s hard to pick just a few since I feel constantly influenced by the things I listen to. But I’d say Hop Along, Liz Phair and Brittle Brian are some of my bigger influences lately.

WHAT’S THE BUBBLE SCARY WRITING PROCESS CONSIST OF?

JACKSON: The writing is always all over the place. Each song forms differently. We’re extremely picky with what riffs/lyrics/ideas we use in a song, so it’s usually a lot of throwing things at the wall until they stick. We probably have scrapped like twenty songs of material haha.

When choosing what ideas we let stick, we usually try to write songs that don’t feel like repeats of our other songs. We also don’t usually move forward with anything that we don’t resonate deeply with, or at the very least think is fun or full of energy. I guess my opinion sometimes is that there’s no extrinsic reason to write music, so if everybody doesn’t feel super excited about a song there’s no point in writing it.

CHUKA: We don’t really have a specific one way we write, but it is a long process of trying out different riffs and parts to see what sticks. Like Jackson said, I think our main goal is to consistently make things that are honest and we all resonate with. That can be hard at times, but also the fun of it. It can take a long time to write each song, but the results are songs that are sincerely ours.

MIGUEL: At the end of the day I think we’re always searching for something that feels good or exciting musically. Sometimes during our jam / writing sessions that comes quickly, but since we’re so picky most of the time it takes a lot of time, trial, and error before we figure out how to achieve that.

COREY: A lot of this record was written starting as Jackson and I trying to come up with something on guitar and drums and cleaning it up into something usable when we got together with Chuka and Miguel. A lot of it was brute force where need be. When one of us feels passionate about something, or really believes in something that the others cant see the vision in, then we try to make it work. A lot of the time that conflict is necessary. I remember a lot of instances where some things just felt like there was no way it was gonna come together, and then the pieces fall into place pretty quickly.

We try to do things democratically, but music doesn’t work without passion, so we try to follow where the energy is going. Any song is a product of circumstance, whether it be emotion of the moment, what instrument you happen to be playing, etc. Then multiply all those variables by multiple songwriters, and you’ve got a really crazy hodge-podge. These songs are the product of four different people working together in a specific moment of time (as it should be).

WHAT DID YOUR RECORDING PROCESS ENTAIL FOR THIS EP?

JACKSON: All the songs on our records are recorded fully live, including vocals. We do some punch ins, splices and guitar doubling but we always start with a recording of us all playing together. We always want to make sure that the music feels authentic and full of the energy of a live performance. Will’s hands off approach at Dead Air Studios was a perfect fit for our needs, he’s great at capturing the live sound of a band in our experience.

CHUKA: Like Jackson said, we were able to record live including vocals which was the particularly special part for me. We had tried doing vocals separately before, but it never captured that live sound or the sound that felt truest to our music. It was a great recording process where Will gave us our space to really just play together.

COREY: We recorded live to preserve energy and sense of each other in the room, and then touched up where need be. We did a lot more touching up on this record than we did the last one, so its a lot more “perfect” than the first record. That kind of comes with the territory of recording live and trying to do something “raw”. But we got it done fast.

WHAT DO YOU HOPE THESE SONGS ACCOMPLISH FOR YOUR BAND AND FOR YOUR LISTENERS?

JACKSON: I just hope people feel a personal connection to it. We all have our own ideas of what the songs mean but I’d hope people find their own meaning when they listen.

MIGUEL: I’m proud of the time and energy we’ve all spent working on these songs the past couple years. Writing this music has pushed me as a drummer and in my opinion it’s the best music we’ve made together. I’m grateful for anyone who takes time out of their day to listen to it, and I hope there’s something within the music you can find and connect to.

COREY: I hope people see the vision that we set out with, but more so I hope they see a cohesive project that means something to them personally, and that's worth returning to. I hope people see it as a mature, intentional record. This record was tough to make in a lot of ways but I felt that it was worth it the whole time, and I’m just glad that its out there and has had its effect.

“[FEATHERWEIGHT] CAME FROM A PLACE OF BREAKING DOWN SOMEHTING TO CREATE SOMETHING NEW. THE SONGS ARE ALL CONNECTED AND FOLLOW THE MANY PARTS OF THAT PROCESS - FROM AVOIDANCE AND RUNNING AWAY FROM WHAT’S IN FRONT OF YOU, TO REALIZING YOU ARE STUCK AND NOT IN CONTROL, ALL THE WAY TO CONFRONTATION.”

SOME SONGS ALSO TOUCH ON THE OVERARCHING FEAR OF ONE’S INABILITY TO CHANGE AND THAT THERE IS SOME INESCAPABLE FATE. ULTIMATELY THE SUBJECT IS HOW THAT CONFRONTAITON WITH YOURSELF - THAT HONESTY - CAN HURT! AND IT CAN BE HARD AND YOU MAY BURY IT BUT MUST BE FACED AT SOME POINT.”

- CHUKA, @BUBBLE.SCARY

“The lyrics throughout follow these themes and hold a lot of tension, anger and fear. But there is also a bittersweet hum throughout that acknowledges the want/desire/desperation of honesty for that catharsis and peace it would bring.”

SO NOW WHAT’S NEXT FOR THE BAND?

JACKSON: Tour, write more, do a split with Hauzu, maybe write some collaborative songs with members of other bands.

COREY: I just want to write more songs, whether they sound like the other records or completely different. Whatever feels natural, that's what I want to do.

ANY CLOSING WORDS FOR THE READERS?

JACKSON: A lot of the bands we love are screamo, but we don’t have loyalty to any genre. DIY gives us the opportunity to showcase music made for the sake of making music, not filtered through genre or targeted audiences. I’d like to see DIY communities less focused on genre and trends and more focused on uplifting people that are making great art for the right reasons. More mixed bills less elitism.

CHUKA: Even with the ideas we came into making the music, the songs ended in a spot we didn’t expect. Same goes with this release, we may intend it in a certain way but I hope that whatever ways they are interpreted, people feel connected and seen.

Amherst, Massachusetts scene is lucky to have such an innovative band that I pray I'm able to see live one day. Their drummer Miguel also pays in Hauzu, Not Just A Phase is a massive fan of Hauzu and everything Bubble Scary is doing so we cannot wait to see what more they have in store for us in the future. Follow their socials at the link below, hit play, hit play again, hit play again-again and still be amazed, abuse this EP and never get tired of it as I have. Be in amazement every time you hear their work, be afraid of bubbles? Indieviolence forever.

Bubble Scary is Chuka Stergios on vocals, Jackson Payne & Corey Cash on guitar and bass and Miguel Gomba on drums.

Follow them on Instagram here : Bubble Scary

Writer : @just_reidz

Editor : @just_reidz

08/15/25

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Robert Reid 8/13/25 Robert Reid 8/13/25

BACKCHANNEL

Sometimes to move forward we have to look to the past. This is the path Backchannel have carved out for themselves. BACKCHANNEL are the latest in the growing wave of early 2000s post-hardcore powerhouses emerging from the Toronto music scene.

What sets BACKCHANNEL apart from new bands emerging in the scene and a key contributing factor to the bands sound is their history in Toronto's DIY music scene. Their roots stretching back to the early 2000s and formative years of the genre, Backchannel are not merely emulating or building upon the bands before them, they're the next step in organic evolution of the scene's pioneers.

The faces behind BACKCHANNEL are familiar to most in the Toronto music scene. With lead vocalist Dave's graphic design work under the moniker "Slopgoon", he's done everything from show flyers to merch and album art for various local artists. Luc and Julian, both formerly of Body Doubles, playing guitar and drums respectively, and Seb, formerly of Big Evil, on guitar rounding out the lineup.

Debuting their first single "Blindsiding" this past February, Backchannel have wasted no time with their reintroduction to the music scene. Following with "Rattlebox" in June, and with their latest single "Pale Horse" out on all streaming services tomorrow August 15th.

"Pale Horse" is a highlight reel of everything that makes the post-hardcore genre great. Rotating between heavy chugging guitars and more melodic sections creating a dynamic sound that captivates you from the moment you hit play. Dave's harsh and brutal screamed verses are the perfect foil alongside Luc's soft but powerful clean choruses. When the two vocalists collide during the latter halves of the chorus ‘Critical condition, there's no going back. Like an apparition, fading into black’ it leaves a lasting impact that will be sure to bring listeners back for more. Harkening back to bands like Underoath and Alexisonfire, Dave and Luc are a duo that can stand alongside the genre's elite vocal pairings.

"Pale Horse" is an emotional rollercoaster listeners of any genre will be familiar with. Friendships having run their course, and the intangible but ever growing distance pushing you apart. An elephant in the room both parties don't want to acknowledge but know is there, pulling the string that eventually unravels the tight knit bond between two people.

“[PALEHORSE] IS ABOUT A FRIENDSHIP HAVING RUN IT’S COURSE - WHEN YOU REALZIE THAT YOU AND SAID FRIEND HAVE LESS IN COMMON - WHETHER THAT’S THROUGH ONE PERSON’S STAGNATION OR THE OTHER’S GROWTH- AND THE THREADS THAT HOLD THE FRIENDSHIP TOGETHER HAVE STARTED TO UNRAVEL.

SOMETIMES YOU HAVE TO LET A DYING THING DIE, BUT YOU START TO BLAME YOURSELF FOR IT AND QUESTIONING THE WHAT-IFS MIXED EMOTIONS, DOUBT, BLAME, ETC.”

- DAVE, @BACKCHANNELBAND

The greatest strength behind "Pale Horse" is the experience behind the artists who crafted the song. The decades of experience each individual member brings to the table is clear as day. Shining bright but never overshadowing the others. This truly feels like a perfect collaborative effort with each member pulling their weight and providing the best performance possible.

"Pale Horse" is mixed and produced by guitarist / co-vocalist Luc Ruggiero and mastered by Mike Kalajian at Rogue Planet Mastering, a seasoned veteran of the genre having worked on releases by Thrice, Emmure, and Bad Omens just to name a few.

After three singles since the beginning of the year, BACKCHANNEL show no signs of slowing down. With another single planned for release this fall, leading up to the band's debut EP before the end of the year.

You can hear "Pale Horse" along with BACKCHANNEL’S other singles live on Thursday September 25th in Toronto at The No No Room in support of fellow Toronto post-hardcore rockers Lowheaven and The Good Depression.

BACKCHANNEL is Dave Lee on vocals, Luc Ruggiero on rhythm guitar / vocals, Sebastian Duke on lead guitar, Mike Chiacchia on bass, and Julian Ierullo on drums

Follow them on Instagram here : BACKCHANNEL

Writer : @obijuan.cannoli

Editor : @just_reidz

08/14/25

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Robert Reid 8/5/25 Robert Reid 8/5/25

Serrate

When you examine the days through the distorted lens of capitalism every day starts to feel like Monday — but hey, silver lining, at least we have new screamo to look forward to, right?

Today we travel to Asheville, North Carolina, so that we can kick the doldrums with the pummeling sound delivered by Serrate. The latest track is “Kill for the Ones You Love” from the forthcoming full length Even the Wind Sounds Dead, released Sept. 8th on Zegema Beach Records and Bitter Melody.

“I wrote ‘Kill for the Ones You Love’ after Hurricane Helene happened,” says singer/lyricist Brandon Gaddis. “There was a makeshift sign on the side of the road near my house that said, ‘Be kind. Be gentle. Take care of the ones you love.’ And for some reason, it hit me like a ton of bricks. It didn’t feel like enough.” These defining moments seem to swirl and eddy about us, desensitizing us. We grow callous. We watch friends and family suffer cruel fates to increasingly brutal natural disasters hoping that we’ll come together stronger to clean it all up.

Serrate is a band steeped in the tea leaves of screamo legends. Their origin story points to the creation of the band in efforts to hop on a gig with then reuniting City of Caterpillar. One of their most frequently cited influences is Majority Rule, whose guitarist / vocalist Matt Michel recorded the upcoming LP at Viva Studios in Richmond, VA. Then, to up the ante just a smidgen more, the album was mastered by Will Killingsworth (Orchid, Ampere) at Dead Air Studios. The influences of these greats goes beyond hero worship, rather it pays homage to that which paved the way for the contemporaries rooted in the east coast (Ostraca and Infant Island spring to mind).

“AT A TIME WHEN OUR COMMUNITY WAS REELING FROM THE DEVASTATION OF A HURRICANE AND THE WORLD IN GENERAL WAS BECOMING A MORE TERRIFYING PLACE, IT FELT IMPORTANT TO LET PEOPLE KNOW THAT YOU’RE THERE FOR THEM.”

- BRANDON, @SERRATE.NC

“Kill for the Ones You Love” opens on a marching drum cadence with barely overdriven guitars bringing in the mid-to-high frequencies while a distorted bass carries the low end. Gaddis comes in alongside distorted guitar with a vocal delivery that is loosely reminiscent of Jacob Bannon. A catchy, clean-sounding guitar melody cleanses the palette of the onslaught of the first minute, the vocals fraught with unspeakable woes of a community rocked by disaster.

The track revisits and ideates upon the primary verse, weaving bits of respite between the moments that seem to move with the recklessness of a storm. The sections between leaving you to wonder, is it over? It’s not, but it does come to a close, eventually, after a punishingly fast crescendo takes us back to the familiar freneticism of the earlier riff and calmly whisks us away an a reverb laden passage that has gear nerds looking to see what pedals are being used.

It’s been an incredible year from screamo, and the release of Even the Wind Sounds Dead makes each new day worth it. The promise of “Kill for the Ones You Love” with its nods to metallic tinged screamo should be more than enough to keep us company this fall. Be sure to check Bitter Melody and Zegema Beach for the 12” release on September 8th, and bang your head while you put this one on repeat.

Serrate is Brandon Gaddis on vocals, Matt Evans on guitar, Thomas Mims on bass and Dave Reinhardt on drums.

Follow them on Instagram here : Serrate

Writer : @garevthistle

Editor : @just_reidz

08/05/25

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Robert Reid 7/28/25 Robert Reid 7/28/25

Ennui

Today we’re honored to be premiering the music video for a new Ennui track “Quarrelsome Heaven”. Ennui hail from Long Island, (New York–Suffolk County specifically) and [even more specifically] from the Stony Brook area since three fifths of them grew up there. Sharing members with one of my favorite long island bands Private Mind, their members are also active in a plethora of other bands in their scene including Grael, Of Temperament, Boots on the Sand, Terror Eyes, Maida and Time Out. Needless to say these folks are busy.

We had a chat with Ennui vocalist JA Czerwinski, and guitarist Mike Varley, about the inspirations behind the writing process of their upcoming album as well as chat about their recording process and their plans for the future of the band.

WHAT INSPIRED YOUR CREATIVITY DURING THE WRITING PROCESS FOR THIS ALBUM?

Mike: “When I was initially looking for inspiration for our songs I was revisiting a lot of stuff that inspired me when I was first discovering hardcore and aggressive music. Mostly 90s and 00s screamo, emocore etc.; La Quiete, Portraits of Past, Daniel Striped Tiger, Anomie, Saetia.”

“I WAS IN HIGHCHOOL DURING THE GOLDEN AGE ON INTERNET PIRACY THAT WAS CENTERED AROUND BLOGSPOTS; I WOULD DOWNLOAD TEN OR SO ALBUMS AT A TIME AND LISTEN TO THEM AT SCHOOL THAT WEEK. I WAS ENAMOURED WITH THE LOFI RECORDINGS AND MELODIC ELEMENTS JUXTAPOSED WITH RAW EMOTIONAL SHRIEKING VOCALS.”

“IN AN ERA WHERE HARDCORE AND EMO WERE BECOMING COMMERCIALIZED AND OVERPRODUCED, I FOUND A COUNTERPOINT THAT EMBRACED THE DIY ETHICS AND AESTHETICS THAT I CRAVED AND THAT’S EXACTLY THE TYPE OF EXPIERIENCE I HOPE ENNUI PROVIDES TO THOSE WHO SEEK IT.”

- MIKE, @ENNUI.LINY

I am the ice, I am the wall. Pride of the voice, invisible. I am the frost, you are the cost.

I hurt I, mourning dew–hurting you. To be heard, nothing learned. Push away, stay away with guilt.

to be heard, nothing learned. Push away, let me in with guilt. Sixteen years old today, stage four I heard mom say.

Sister, is our grandfather going away?

Because he’s eighty pounds less this year—and he sits quiet on his porch with less time than any of us have.

Thirty eight years old, fifty six years old, seventy four years old, ninety three years old—alone without you.

Twenty years gone by and love’s always been hard. I tried, I tried my fucking best.

Family; shattered into scatters. Screaming is all that fucking matters.

I love you, promise not to leave. I love you, promise to leave me be. I hate you, promise to set me free.

WHAT WERE SOME LYRICAL TOPICS & INSPIRATIONS ON THIS ALBUM?

JA: “A good portion of the lyrics on this record are inspired by conversations I had with our bassist Jason over the past 3 years or so. He knows me better than anybody and we’re both into a lot of esoteric text, psychology, and art.”

”So much has happened throughout the course of this record that it’s hard for me to convey exactly what my state was. I went through a terrible separation of sorts, fell back in love, a couple of personal altercations that drew too much attention, repaired the relationship with my mom after having no contact and not speaking for almost four years, a myriad of health issues ranging some somatic to mental to physical, cutting a lot of ties and trying to live a more focused life.”

”It's tough. As of writing this, I’m 2 weeks shy of turning 40 years old. I feel like a lot of this record is reflecting upon the challenges of getting older – having to undo a lot of the things from youth that are still stuck or stagnant. Things that remain present that are cruel, or are at best delusional and self-serving. The desire to close all distance and not have everything feel so lacking and without calm.”

”Dark insights that I had a blind-spot to when I was a younger person, watching my folks get older and less able – being next in line to be their sense of reason but still feeling the residue of decades past and still feeling very strongly about the values I had 20 years ago but with 20 years of more life lived. Trying to put so much hurt and division to rest because it doesn’t matter anymore, it’s exhausting to carry all of this weight.”

“But there is so much good that came from this time too. I became impossibly close to people, old friendships were mended and strong new ones were formed. I can’t begin to articulate how much that means to me. We all have connections to people that feel stronger than the families we were born into. Letting go of so much of that – seeing the adversarial world as wounded and confused people instead of objects of opposition. Life is messy and unclean, mistakes granted, but we are as vigilant and forceful as we need to be when something contests that serenity.”

”Protect it, honor it, or be prepared to lose it or leave it.”

Mike: ”Tyler Hodelin mixed the record–he’s a big supporter of Ennui and the Long Island scene and plays in probably 70% of the local bands. He did a great job and was very patient with us. Will Killingsworth at Dead Air Studios did the mastering, he’s always been our go-to.” The band’s next show is on July 30th at The Calling Bell in Huntington with Heavy Hex, Liberate, Pound for Pound, Of Temperament and Top of the World.”

“ABC No Rio alumni Dyami Bryant has hooked us up with a spot on day 2 of Collective Effort Fest at the Meadows in Brooklyn in October with Gillian Carter, Hundreds of AU, our friends in Pyre and more. This may be the biggest venue we’ve played and although my personal preference is intimate floor-shows I’m excited to share the stage with all these awesome bands–very grateful for this opportunity.” A record release show in the works for September, TBA.

Eternal Wax Wings Eternal Sun is set for release August 20th–it will be streaming everywhere and available on CD through Day Zero Collective with a booklet that folds out into a neat little poster.

Ennui is JA Czerwinski on vocals,
Rebecca Maida & Mike Varley on guitars, Jason Jenkins on bass and Chris Lundquist on drums.

Follow them on Instagram here : @ennui.liny

Writer : @just_reidz

Editor : @just_reidz

07/29/25

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Robert Reid 6/23/25 Robert Reid 6/23/25

Open Carry State

Open Carry State call Atlanta, Georgia (USA) home and are debuting their newest track “A Loving Embrace” today. The band cites influences such as Jeromes Dream, Orchid, Slow Fire Pistol, and Portraits of Past and that leaves us asking, “how could this not be good?”.

In the tradition of the aforementioned bands, the trio blends raw emotion with even more raw performances - a formula that worked during the heyday of the first wave screamo movement just as well as it works in 2025.

Big chords give way to interspersed drum blasts and shrieked vocals in the first half of the track, while the second half drips in catharsis that is accented by arpeggios and spoken word - this all comes together for a payoff that will leave any genre fan smiling and bobbing their head along.

The entire band emphasized the emotional impact of this project; while there was plenty of mention as to the pain that is referenced in each track, Chase (vocalist / guitarist), signaled that there is more than just trauma at play here, “I’ve used the writing process for this band as some therapy, peppering a hope that there is beauty in this world.”

“THIS RECORD HELPED ME HEAL AND DEAL WITH A LOT UGLY EMOTIONS AND TRAUMA, IT’D BE BEAUTIFUL IF IT HAS A SIMILAR EFFECT ON OTHERS WHO GIVE IT A LISTEN.”

- CHASE, @OPENCARRYSTATE

“Hopefully we can play some awesome shows with our heroes and our EP blows up,” Luke says when posed with the question of ‘what’s next for Open Carry State.’ All the while, Nate’s aspires to “blow up and act like I don’t know anybody else” while also hoping to be opening for Portraits of Past, which could certainly come to fruition as the tight-knit group continues to hone its craft.

I’m full of hate today

Brimming with contempt for everyone yet I know,

I brought it all on myself, every finger I point will come back to me

I’m sorry, fuck you, I’m sorry

I wish I could fix what I broke

Until then I’ll seethe in a pile of remains

There is no fixing , I’m confined to a messy room

A foreshadow of demise, a cell block I designed

A detailed sketch of forlorn dejection

I’ll internalize the rejection

I’ll never grow, I’ll never improve

Just killing time till the inevitable comes crashing around me

I’ll except it in a loving embrace, a resounding end to my torture

A collapse into the nothing that I deserve

I’m sorry again, fuck you, I’m sorry

As for any closing remarks? Yeah, Nate has a few of those: “Fuck ICE, Fuck Israel.”

The bands’ new EP, I’ll Live in This Discomfort, was mic’d up and recorded DIY in Lukes basement. It was mixed and mastered by their friend Gabe Acosta, and its release is slated for July 4th with physicals being released via Oliver Glenn Records and Severed.exe. CDs were also made in house by the band through Chase’s micro label Doomsday Dance Party.

The band is set to hit the road on July 1st with the amazing Australia emo act Doris, and then they’re off for a short run with Combat Evolved from July 9th - July 14th.

Open Carry State is Chase on guitar / vocals, Nate on bass, and Luke on drums.

Follow them on Instagram here : Open Carry State

Writer : @spanndrew

Editors : @just_reidz & @garevthistle

06/23/25

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Robert Reid 6/15/25 Robert Reid 6/15/25

Gil Cerrone

From the early days of DC Hardcore punk with bands like Faith/Void in 1982, to the formative years of screamo at the turn of the century in 2000 with Jerome's Dream/Orchid's infamous skull 10", splits have always been synonymous with DIY music scenes.

Melbourne, Australia's Gil Cerrone are the latest in a long lineage of screamo royalty that have stepped into the fray of iconic split releases. Gil Cerrone's latest single "Chuck Steak" forms half of their split with Japan's Poetry of Torch will be released June 16th through Zegema Beach Records.

Gil Cerrone are nothing short of vicious in every sense of the word on “Chuck Steak". From the opening seconds of the track guitarists Liam and Darcy, along with their drummer Jordan, create a sense of urgency. Not only setting the pace, but also the tone for what can sonically only be described as sprinting full tilt through a nightmare.

It's safe to say screamo bands typically bare their hearts on their sleeve, in this case, Gil Cerrone bore their teeth. Vocalist Michael's trademark ferocious screams help paint the bleak landscape that is Gil Cerrone's signature sound. The primal delivery of lyrics such as ‘the fish are ignoring our bait. The herd isn't feeding. The feet of the dirty will dance today’ feels like a raw unpolished reflection of the state of our world today. A nightmarish waltz through the cycle of death and guilt we are faced with in our day to day lives.

Over the course of its three minute runtime it's clear that Gil Cerrone have found a home among screamo's elite. Taking time to reflect on “Chuck Steak” left me with one question, "Is it worth the price of admission"? I think that answer can best be summed up in the song's closing lyrics, as Michael reflects: ‘Nine-fifty for the premium chuck steak. We know it was worth it'.

We caught up with the members of Gil Cerrone as they began to embark on their tour in Japan with split-mates Poetry of Torch..

HOW WAS THE WRITING PROCESS THIS TIME AROUND FOR THE SONGS ON THIS SPLIT?

Jordan: “A combination of methodical, collaborative and prescriptive. We typically start with a core chord progression or riff and expand it into a song, utilizing various structural ideas and concepts. Sometimes with computerized notation and sometimes without. Vocals usually come into the process in the latter half once we're all physically in the room together getting it dialled in. More specifically, 'Boardroom' contained most of the riffs I wrote in 2024, which were dumped together and, luckily, worked out okay.”

“CHUCK STEAK IS AN ADRENALINE RUSH. WE WROTE BOTH SONGS [ON THIS SPLIT] ACROSS SEVERAL MONTHS - WE’RE RARELY FAST WITH WRITING SONGS AND TEND TO GET VERY STUCK ON THE INTRICACIES.”

- JORDAN, @GILCERONE

Michael: “Boardroom touches on the need to have a spotlight on yourself and the paranoia that comes with that. Chuck Steak is an ode to a pet I had for many, many years. He passed and I felt a guilt as I didn't see him much in his final years.”

HOW WAS THIS SPLIT RECORDED?

“We've been collaborating with Simon Maisch, who is a local recording engineer and musician (who plays in Bitumen). These songs were tracked as efficiently as possible, track by track in his studio
(called Lily Street) in Coburg over the course of a weekend. Our drums were stolen on the eve of this recording which added to the anxiety and stress of the process.”

WHAT’S NEXT FOR GIL CERRONE?

Jordan: “Continue writing and recording songs, plan more tours! Always keen to keep things moving. Maybe we'll even head up your way one of these days.”

Bordering the moat trying to lift us free, but only focus on the scratch versus the need.

Left to live a life less fitting of your creed. Let the poor prince suffer for our needs.

Sweet scene. Left to live with love on Barcelona Street.

Family of four by the cemetery. They’ll feel they could’ve done more.

Life to something. Life then nothing.

The fish are ignoring our bait.

The herd isn’t feeding.

The feet of the dirty will dance today. A liar who was lying.

Nine-fifty for the premium chuck steak.

We know it was worth it.

ANY CLOSING WORDS FOR OUR READERS?

Michael: “Thank you so much to Poetry of Torch for doing this with us and giving us a chance to visit their country. Please listen to Poetry of Torch and free Palestine.”

"Chuck Steak" was recorded and mixed by Simon Maisch of Lily Street Studios and mastered by Christopher Brownbill of Underground Audio. The single will be released June 16th through Zegema Beach Records as part of the bands split with Poetry of Torch. Gil Cerrone will be touring Japan from July 8th to July 14th, with Poetry of Torch to join them on some of these dates.

GIl Cerrone is Michael on vocals, Liam & Darcy on guitar, Joshua on bass and Jordan on drums.

Follow them on Instagram here : Gil Cerrone

Writer : @obijuan.cannoli

Editor : @just_reidz

06/16/25

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Robert Reid 6/9/25 Robert Reid 6/9/25

Kirkby Kiss

It was five years ago now that a series of violent crimes against people of color absolutely rocked Americans, well, those of us with empathy, at least. We also entered unprecedented times as a global pandemic brought things to a screeching halt. People disinfected their groceries and wept over the stories running on NPR while the president recommended injecting bleach. Suffice it to say, there was plenty to yell about.

Present day and it seems little has changed for New Jersey’s Kirkby Kiss, the five-piece affectionately named after a headbutt. Today we’re dropping a fresh new track of pumped up, frenetic hardcore with the track “Hymn From Hemorrhage.”

“Hymn From Hemorrhage” is the first new music from Kirkby Kiss since their 2024 split with Medicinal, and the track is an excellent reminder that emotional hardcore, rooted in our shared human experience, is still alive and well in 2025. This is fantastic news for folks who enjoy their hardcore nodding simultaneously to its punk roots. “Hymn for the Hemorrhage” veers off into heavy and chaotic, while retaining, somehow, the pop sensibilities to keep guitar riffs stuck in your head for days on end.

It’s no doubt that you’ll find some amalgamation of sounds from a band who turn to friends and peers as a primary influence. Hundreds of AU, Medicinal, Wrong War and Usurp Synapse are all loved and respected, but not in a way which shapes a given style, but one that respects the process. “We’re not so much trying to sound like them but we are inspired by the way these bands push themselves creatively.” writes guitarist, Michael Shepherd. Though he does point out that himself and other Kirkby Kiss guitarist Michael Ramirez did get sucked into the Deadguy documentary, and that it may have influenced the songs on their forthcoming LP.

“THE THEME IS THE SAME AS IT ALWAYS IS FOR US. CATHARTIC RELEASE THROUGH MUSIC — SCREAMING INTO THE VOID ABOUT PERSONAL, MENTAL, AND SOCIALLY POLITICAL TOPICS THAT AFFECT US AND LOTS OF OTHER PEOPLE.”

- MICHAEL SHEPHERD, @KIRBYKISS

Providing insight into the writing process, Shep describes the efforts as organic and collaborative. “Very few songs are brought to practice fully written. Even when that happens, each band member writes their own parts.” With a melting pot of influences from Tommy McGreevy (bass), Frank Burdynski (drums) and Natale Amato (vocals), this communicative approach showcases the sum of these influences.

Where influence is concerned, this track, alongside ten other songs, were recorded at Frost Gauntlet Recording over a series of sessions with Ben Karas. For this recording effort the band spent six-days in the studio, recording scratch drums live, and then adding in the layers of stringed instruments thereafter. And it was in this writing process that the band took their sphere of influence beyond their core members. Karas added violin on a track, and guest vocals from members of Hard 2 Kill, Medicinal, and Discharge, and Shep’s wife, Amanda, who contributed the spoken word section on “Hymn From Hemorrhage,” all recorded and played back from a field recording on an iPhone.

“We’re really proud of this record and feel like it’s heavy as fuck,” Shep writes, before adding: “Heavy in feeling, not sound. Although, it’s pretty heavy that way, too!”. The glimmer of heavy exists in the riffs, the drumming and vocals really elevate that track with regards to heaviness here, but lyrically, ‘Snake eats tail / but not much else / Hymns from hemorrhage / You shed the skin / but slide back in / Hymns from hemorrhage' is a quick jab to the solar plexus..

The orchids know You can’t let go Hymns from hemorrhage

The flowers die Leaves still grow Hymns from hemorrhage

Hemorrhage

Snake eats tail But not much else Hymns from hemorrhage

You shed the skin But slide back in Hymns from hemorrhage

Kirkby Kiss is hitting road for a quick weekend jaunt with Mt.Ida. They’ll be hitting Queens, NY on 6/13, Salem, MA on 6/14, and Providence, RI on 6/15. More weekend dates in Jersey/Philly in July.

The full length will release on August 1st, 2025. Council Records will release the record on vinyl, Protagonist Music will be releasing cassettes. “Hymns From Hemorrhage” is the debut single, and it is an absolute ripper. Smash play, follow the band, get out to a show, and enjoy the hell out of this one.

Kirkby Kiss is Head is Natale Amato on vocals, Michael Shepherd & Michael Ramirez on guitars, Thomas McGreevy on bass and Frank Burdynski on drums.

Follow them on Instagram here : Kirkby Kiss

Writer : @garevthistle

Editor : @just_reidz

06/09/25

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Robert Reid 6/1/25 Robert Reid 6/1/25

Amid The Old Wounds

The king of minimalist, acoustic emo has returned to debut a music video with us today for their new song “Hanami.” The music video is accompanying the self-released EP Anticipating You. This release showcases Daniel Becker at his best with the masterful story telling of his innermost emotional journeys through his signature singer/songwriter confessional style. Fans of Frank Turner & Chris Carrabba’s acoustic work will feel right at home and familiar with the bare-your-soul approach to this soft emo style.

Citing his biggest influence as Elliot Smith and Bon Iver for this latest release, the EP sounds the way perfect weather feels. Anticipating You lulled me into the false belief that my world had stopped spinning for a brief moment in time. Fully immersed in the experience with the tranquility of softly strummed full chords that shine with a soft and tremulous light, I found my self doing some of my own self reflecting in the chord progressions that ring out peacefully for the intro and outro of “Hanami.”

Keeping with the theme of his previous releases for Amid The Old Wounds, the true beauty of these songs isn’t “studio magic.” The real sorcery is how each song makes you feel as though you’re the only one in the room with him witnessing a live performance and hearing these intimate confessions.

“The songs on Anticipating You were written about certain moments that happened in the last two years, but it became apparent how universal a lot of aspects were, how I put light on certain behaviors, ways of dealing and ways of connecting and disconnecting that I have followed over many years.” Daniel tells us..

“I THINK BOTH MUSICALLY AND VOCALLY I DEMANDED A LOT MORE FROM MY SONGWRITING THAN I HAVE FOR PREVIOUS RELEASES.

LYRICALLY I FOUND MYSELF IN A PLACE OF TRYING FOR A NEW BEGINNING, ALTHOUGH THAT ENDED UP BEING AN ODYSSEY AND DESPITE THAT - OR PERHAPS BECAUSE OF IT - I STIRRED UP SOME PAIN THAT GAVE ME A LOT OF CLARITY”.

- DANIEL BECKER, @AMIDTHEOLDWOUNDS

are we passing time? are you passing by? raven eyes  who the fuck am I? mesmerized and then you look at me and it’s harder to breathe, but there’s no need

look, I’m not asking you to lay down your guard it’s there for a reason bigger than myself there’s nothing hollow about staying in the shallow

you seem so restless and I wish I could provide some sort of nest

Daniel Becker’s roots stay firmly grounded in the DIY ethos that he’s embedded into this project since day one. From the project’s promo pics to the “Hanami” music video itself, Daniel keeps everything as DIY as possible.

”I self released a CD version of this EP that I sent out to many many people across the world to just throw in with orders or spread to people who might like it, asking for something back when they can on a name-your-price basis. I felt like people would be more interested or willing to pay an artist directly via name-your-price than a record label, as people tend to think if record labels can produce these then they have money anyway.”

Those who are interested in a physical copy of the release should message Daniel directly at the Instagram link listed below.

Follow Amid The Old Wounds on Instagram here : Amid The Old Wounds

Writer : @just_reidz

Editor : @garevthistle

06/02/25

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Robert Reid 4/29/25 Robert Reid 4/29/25

Body Minus Head

The term “hardcore” means a lot of different things to a lot of different people and I’m not here to discuss the purist definition or the umbrella term that it’s become in today’s society. Through the commodification and many attempts to find its place in the mainstream, people have forgotten that this genre of music is, at its core (pun intended), a much more aggressive and far more creative offshoot of punk rock and its very ethos are rooted heavily in building a community for anyone who needs it.

Body Minus Head are from Kitchener, Ontario, Canada. (I’ll lie and say that’s kind of near Toronto for those of you who only know Canada from our one single city) and they play a style of hardcore that is so rare and special it can only be discussed in relative comparison to a handful of under rated legends. Not Just A Phase is honored to be debuting their third single “Reset To Factory Default.” The track we’re debuting here today showcases just a small sample of the vast spectrum of punk and hardcore influences that have shaped the glorious (and headless) body of work that is their debut album An Exercise in Self-Sufficiency. Most notably influenced by Canada’s finest metallic hardcore band Cursed, the Body Minus Head sound is as malicious as it is melodic and methodic. Every note, every feral word screamed at you, every textured dash of noise implemented, and every single aggro drum hit feels meticulously placed into what I consider to be the most eccentric metallic hardcore album of 2025 so far.

Their guitarist Kyle tells us how the origins of the band were to showcase a sound and style they feel is under represented in today’s heavy music scene: “My initial pitch while seeking players to start playing these songs with me was that I wanted to do something in the world of Cursed, His Hero is Gone and Tragedy, with a bit of the 2010’s Deathwish style stuff like Trap Them and Oathbreaker. Essentially, I felt as though the hardcore or hardcore adjacent stuff I was hearing lacked any punk. I just wasn’t hearing it anymore. It was either just ‘capital-H hardcore’ or way too riffy and metal tinged for my liking. I don’t think we fully ended up as punk as I initially set out to be sonically, but that was a give and take as I added members from way different ends of the spectrum to the band.”

“I had seen Alexandra play guitar and do backups in Basque and just admired her passion and fervor in that band and figured she’d be a good fit if she was open to just being a vocalist for a band. I thought it was only going to be one guitar for a while, but Tim convinced me Luke would be a good fit and he was bang on. I knew I needed on bass someone who knew the world I was trying to pull from and with my lack of music theory, Duff’s a great translator for the rest of the band to explain what I’m trying to get across sonically on each track having played with him for so long in Wayfarer.”

“When Alexandra got on board, she injected a bit more screamo sound than I had envisioned, Luke and Tim both have more of a metal style that I think permeates the sound while Duff and I attempt to anchor it more with a punk feel. That’s the beauty of adding these people though, they all injected a piece of themselves into these demos I had early on to create this all. We sort of ended up somewhere in the middle of all these separate influences.”

WHAT DID THE BANDS WRITING PROCESS CONSIST OF FOR THIS RECORD?

Kyle: The writing process for about 80% of the record was the same. Some of these songs I’ve had for years. When I would run into writer’s block with my other band, which is not heavy at all, I’d sort of mess around with this kind of stuff to maybe shake something loose and mix things up for that project. Eventually, after years of writing for that band I had a good amount of these songs written that I wasn’t doing anything with. I started demoing them where I’d just record myself playing drums, bass and guitar and used those to pitch a few people I wanted to play with.

I’ve known Tim, our drummer, for years so I knew it would be fun to play with him. We’d take my demos and just fill them out together with my only guidance really being I didn’t want anything to end up too technical. It’s about the progressions, the feel and the dissonance more than the technical difficulty. Luke brought the main riff in for one of the tracks which we then finished together in the room for the first time and towards the tail end of writing he and I managed to really lock down the final song together. I generally tend to work the skeletons of these songs alone but when I finally got over myself and worked with him on it, I think it made the final product much better.”

“WE JUST WANT TO PLAY HEAVY AND FAST. WE WANT AS MUCH OF THE PUNK ETHOS AND SOUND THAT WE FELL IN LOVE WITH AS KIDS WHILE PAYING HOMAGE TO THE BANDS I THINK ARE FRANKLY OVERLOOKED AND UNDERREPRESENTED IN HEAVY MUSIC TODAY.”

- KYLE, @BODYMINUSHEAD

Born with something missing Uncanny valley, flaw in the human form Gravitation towards your suit and tie All the wreckage it leaves behind

It finds home in your weakness Finds a home in your weakness

Transpose the thought To land more softly on the palate Any meaning cools off A delicate receding How long can you curb the ambition To scratch that incessant itch

Everyone eats some thing Everybody sleeps Fill the niche, fill the niche I will Kill what must be killed

“We’re all really happy with the record. Ten songs in less than twenty minutes and I think it really shines front to back as a complete record and should be listened to as such. I know in the streaming age that’s not really how most people consume music, but I think the sum here is greater than the parts when consumed that way, much like all the records that influenced it.”

SO WHATS NEXT FOR THE BAND AFTER THE ALBUM DROPS?

Kyle: “The six months it took from starting recording to finally releasing the album feels like a lifetime in this style of music so I’m already sort of thinking ahead to where I want to go next sonically because writing and recording is really where my heart is with this band.”

The album is being released on vinyl through No Funeral Records. It will drop on May 30th, 2025. The release show for the album will be July 11th in Kitchener at the Union with Cease and Wedge, alongside a few others.

ANY CLOSING WORDS FOR THE READERS?

Alexandra: “Support your friends and support your community. It is imperative that we are present for each other - both in times of need as well as those of joy. Work hard together. Celebrate together. Take up as much space as you need and allow others to do the same. Sharing our frustrations and passions and art with people who genuinely care and respect one another is a miraculous thing to bear witness to and participate in. In so many words, it is lifesaving.”

Follow Body Minus Head at the social link below to keep up to date with their upcoming album drop and plans for 2025. A limited run of /100 vinyl will be available through No Funeral Records on May 30th. If you’re feeling adventurous, the members of Body Minus Head remain very busy playing in various other bands such as Basque, Liral, Exalt, Wayfarer and Mockingbird Wish Me Luck.

Body Minus Head is Alexandra on vocals, Kyle & Luke on guitars, Duff on bass and Tim on drums.

Follow them on Instagram here : Body Minus Head

Writer : @just_reidz

Editor : @garevthistle

05/26/25

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Robert Reid 4/27/25 Robert Reid 4/27/25

Social Caterpillar

Social Caterpillar are a psychedelic folk punk band that creates atmospheric landscapes and entire worlds of sound that have been known to transcend timelines and sonic barriers. They create music that’s impossible to define or compare to other human created musical works, but if you truly lust for the “FFO: sections” then the loosest way I can explain their sound is that of Elliot Smith on hallucinogens. A hefty amount of hallucinogens.

Social Caterpillar are a band of crazy anarcho punks from Milwaukee who pioneered the genre of time-travelling-futuristic-yacht-rock and since 2016 A.C. they’ve been dedicated to crafting their lucid and cinematic compositions for the angsty hearts and minds of those of us who yearn for answers to the unknown. Now the time bending yacht rock enthusiasts have returned, once again, to bless us with an exclusive first listen to their new album, and a farewell.

Their upcoming and final record is a split twelve inch release with their friends in Waunband. Each band contributed two original songs and they each covered one song by the other band as well. Today we’re honored to be debuting the advanced listening of their up coming album Disappearing Mouths. Social Caterpillar start their voyage on track one as they uncover the loss of human life in general and the end that they all feel is near. It’s a beautiful song with a rather fitting and painful eye opening to kickoff their departure.

Perhaps in another timeline or on another planet Social Caterpillar are still expanding the minds of their cult following by rocking one yacht at a time but here on planet Earth they’ve come to bid adieu and in their egress they have gifted Not Just A Phase with some dialogue regarding their legacy and their exit piece.

The following interview was conducted via the internet and presented to you in it’s rawest form..

SO WHAT DID THE WRITING PROCESS CONSIST OF FOR THIS FINAL RECORD?

“The songs were recorded at Electrical Audio in Chicago by Greg Norman. Greg has recorded all of our full length records and is the best. We tracked the drums, guitar and bass live, and then did vocals, violin, and trumpet overdubs. We started a business selling chicken milk with him during the recording process. If you don’t know what Chicken Milk™ is it’s because Trump added tariffs to our exports. ”

ANY MORE SHOWS OR TOURS COMING UP FOR THIS SENDOFF?

"Nah, we done. After eight years, we amicably decided to end the project. We will however get back together to play the Superbowl, but only to go out in the flames of burning flags. Buy our Chicken Milk™.”

“WE BELIEVE IN NON-EUCLIDEAN GEOMETRY, AND REFUSE TO PLACED IN BOXES OR JAIL CELLS. THEMATICALLY HOWEVER, THE ALBUM IS JINGLES FOR OUR PREMIUM CHICKEN MILK™ PRODUCT.”

- DEREK @SOCIALCATERPILLARMKE

Softseed Music is releasing the record and the tentative release date is May 2nd. Now, as the gang boards their yacht to sail out towards their uncertain futures, I wan’t us all to remember the good times, the laughs we’ve all had on their journey, their absolutely unhinged podcast they did with NJAP a few years ago, and how things all were before they became corporate suits pushing their Chicken Milk™ to the masses because they didn’t want to keep on yacht-rockin in the free world.

ANY CLOSING WORDS FOR THE READERS?

“Our world is fucked and we are terrified. Anarchy is peace, please be well.”

Social Caterpillar is Kyle on guitar and vocals, Eric on violin & guitar, Eli on the bass, samples, guitar & piano, John on the trumpet, and Derek on drums.

Follow them on Instagram here : Social Caterpillar

Writer : @just_reidz

Editor : @garevthistle

04/28/25

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Robert Reid 4/15/25 Robert Reid 4/15/25

Retratos de Heroína & tokkan

The language of screamo is universal. You can both hear and feel the emotions being forced out of the lungs and throats of vocalists in the genre, and while the lyrics in the genre span many topics (and a full emotional spectrum), it’s rare that anyone’s shredding their vocals chords with poetic lyrics of joy.

What does being me joy, however, is hearing two bands from two very different parts of our world come together through borders and (potential) language barriers to produce one hell of a split in the universal love language known as screamo.

Retratos de Heroína are from Punta Arenas, Chile (a small city located in the southernmost part of the country) and tokkan are from Hokkaido, Japan, (located specifically in Muroran). Retratos de Heroína bring elements of sass and what I can best describe as “final boss battle riffs” to their metallic screamo sound, and it’s always a pleasure to hear the creativity of this project continue to blossom with each release. As a big fan of Fernando’s work (as one of the three founding fathers of this blogspot and podcast), and as a fan of the musician that has leant their riffs and vocals to many projects over the years such as ctubre se ha ido, Ira Vehementi, Nepugia, (and my personal favorite) Dear Diary This is From My Teenage Angst to My Adult Self, I already know the main inspirations behind their writing process..

Joshua Fit For Battle and magical girls.

“I’LL ALWAYS PUT JOSHUA FIT FOR BATTLE AS THE MAIN INFLUENCE IN THE MIXTURE OF OUR SCREAMO, AND THAT ‘METALLIC’ SOUND WE ADOPT FOR SONGS LIKE AKEMI HOMURA BUT TSUCHIMIKADO KUON AND YAMAMOTO NAOKO WERE DEFINITELY INFLUENCED BY EMOVIOLENCE, I’D REFERENCE JEROMES DREAM IN PARTICULAR.”

- FERNANDO @RETRATOSDEHEROINA

SO HOW DID THIS SPLIT COME TO FRUITION BETWEEN THESE TWO BANDS?

I knew of the label [Soul Ameria Records] because of his series of splits Post Marked Stamps, specifically the one that featured Burial Etiquette and Undermark. This series of splits had a Japanese band and a foreigner which I thought was a cool idea.

WHAT’S THE LYRICAL TOPICS FOR YOUR TRACKS ON THE SPLIT?

“Tsuchimikado Kuon is about how we gave power to religion in our decisions. Yamamoto Naoko discusses how social networks serve to mask the feeling of emptiness and Akemi Homura portrays a person who is obsessively in love. Oh and magical girls, It’s always magical girls.”

WHAT DID THE WRITING PROCESS CONSIST OF FOR YOUR HALF OF THIS SPLIT?

“We always do tabs for all our songs, so we start with that. When we get the midi drums, we just come here to my house with my always loyal Scarlett 2i2 and record these bangers.”

SO WHAT’S NEXT FOR RETRATOS NOW?

“Well I just hope people make time to listen to this split. We wanted so bad to share a split with a Japanese band and we’re very happy that tokkan is that band. This year we’re also going to release a bunch of splits with locals bands and foreigners. So stay tuned, we plan to expand our catalogue!”

ANY CLOSING WORDS FOR THE READERS?

“Well, sometimes I think too much in what is screamo and what is not. Probably I’m too afraid of giving you a wrong image of what you expect. That’s why the image we chose to give you is a colorful one. Listen to our music, judge after.”

Un corazón inseguro

Tal vez la ausencia absoluta de amor

No podría escudar a nadie

No podría ser sano a la larga

No podría descansar las noches

Pensando en todo lo que hizo falta

Primero me forcé a negar tu partida

Segundo me obligué a deformar la historia

Tercero prometí que no caería de nuevo

Y ahora estoy aquí repitiendo el retrato

Pensando en ti

Todo se trata de ti

Cómo podría olvidar

Una desdicha que el tiempo estancará

Envuelta en mi luto me engaño al contemplar

Que en mi memoria está intacto el recuerdo

De aquella que le dió un sentido a mi valor

Quiero abrazarte

On the other side of this split is a band that is brand new band to myself and many others I’m sure. tokkan have three very unique tracks to match up with the energy on the Retratos half of this split. Fusing post-rock into their high-quality-lofi screamo jam sessions. This sounds like a band who’s writing style will be progressing into more scales and jam band arrangements. Their half of the split is a wild mix full of funky drum and bass grooves with a good handful of scales and little jam sessions with brief moments of mellow jazz that occur in-between the surging rhythms that jar you back into vigorous whiplash snap of their sound.

Kubo, the guitarist, is in a band called LAUGH DAWN. Their music is great and very unpredictable. Their bassist and drummer are also in a band called Our Error 404. The band has a beautiful arpeggio interplay and Hatate, (their guitarist / vocalist), was in several tribute bands. The first one they played in was an Asian Kung Fu Generation tribute; they also did a small Orchid tribute.

The split was mixed and mastered by Fernando at Kaname Records and right now Soul Ameria Records from Japan has the CD release, the bands are also in conversations with some other labels to eventually do a tape release.

ここで愛した精神は露と消えた
意識の底に羨望は残っているか

むだ花の蜜を飲みあさる虫けらの徒よ
虚構と繁栄を与えられて生きる
歴史の要請は喧騒に飲み込まれ
費やした痛みだけに平和が根付くのか

思考を阻害する感情を殺せ
大切に繋いだ一生の思い出を返して
戒律に触れた非業の開拓者

かけがけのない生存闘争は続く
俺は世界じゃない

Retratos de heroína is Fernando on vocals, César and Pablo on guitar & back up vocals, Valeria on bass, and Ciro on drums.

tokkan is keishi hatate on guitar and vocals, keishirou kubo on guitar, soki nakanowatari on bass and shunta inaba on drums.

Checkout the full split here : Retratos de heroína / 吶喊

Writer : @just_reidz

Editor : @garevthistle

04/16/25

Robert Reid 3/25/25 Robert Reid 3/25/25

Sutras

Sludgy and atmospheric-post-hardcore, sounds like a really beautiful mix doesn't it? I’m not making up new genres here by the way, I’m just trying to wrap my brain around the very eclectic range of influences that Washington D.C.’s new band Sutras is writing. It’s alluring and it’s innovative, and I’m absolutely infatuated with their sound. Today we’re honored to be debuting their new single Welcome, Kingdom Kids off their upcoming album The Crisis Of Existence.

Pageninetynine, Quicksand, My Bloody Valentine, Have Heart, Eyehategod and Drug Church. What do all these bands have in common besides being amazing? They’ve all influenced Sutras writing and sound in one way or another, and when you’re citing influences from such a vast array of bands like that, it’s no wonder their style is so distinctive and personally their very own. Sutras songs greet you like a (sludgy) warm breeze, and they extend thee invitation to feel that moment, to be present in that sound and their message. Sutras only urgency is that you truly allow yourself to detach from the inanimate objects that surround us all.

“I named the record 'The Crisis of Existence' because that's ultimately how I feel. I am pretty sure I am now alone in that. This is by no means a spiritual self-help program - but maybe if we can find comfort and solidarity in our struggle, in our crisis - and find the bigger picture and work towards it together. I'm fucking tired of being surrounded by people stuck in a material existence.”

Their guitarist and vocalist, Tristan Welch, tells us that The Crisis Of Existence addresses our karma, capitalism, our ego, and our struggles..

“Karma: What that is, why I have mine and what the fuck to do with it. Capitalism: Why? What more do we fucking need? No spiritual teachings advocate for this nonsense. Ego: Letting go of it and understanding the freedom from self. Materialism: Take it to your next life. Working class struggles... addiction, mental health, financial struggle.”

SO WHAT DID THE WRITING PROCESS CONSIST OF FOR THIS RECORD?

“Writing for me is a personal thing. I have to have something to work through. I don't create music just for the sake of creating music. I've never just thought ‘I'm going to play music for fun’.

When I sit down and write I might not know what my end result is going to be - but I know it's a relief (that sometimes creates more stress later on). Sometimes I'm stressed and anxious or depressed and pick up the guitar - and then ideas flow out, and a song is born. Other times I've written the lyrics and they need music which instigates me sitting down to form a song.”

WHAT CREATED THE URGENT MESSAGES OF US ALL NEEDING TO DETACH FROM OUR MATERIAL WORLD THAT HAS BECOME A THEME THROUGHOUT THIS RELEASE?

I know how much it hurts to work 60 hours a week - with a hurt back - and come up for air on payday to still be just to hope the rent or your mortgage is covered. I know how hard grocery shopping is - even after working overtime. I know what it's like to feel a need to be numb with alcohol and drugs just to deal with one more fucking day, get so depressed, hopeless and destitute from being treated like a punching bag that shooting up lethal drugs or pulling a trigger seems like the only option..

**“THE MESSAGE? WE DON’T HAVE TO FEEL THAT WAY FOREVER. WE WON’T FEEL THIS WAY FOREVER. WITHOUT LEANING TOO HARD INTO NIHILSTIC TENDENCIES - I’VE LEARNED IT’S OK TO BE LESS.**

IT’S OK TO JUST BE ME. BEING THE BOSS, THE MANAGER, THE WINNER, THE LEADER. NONE OF THAT RELATES TO MY SPIRIT. I DON’T WANT TO BE TIED UP TO MATERIAL ITEMS WITHOUT A SPIRIT… IT’S CLUTTER.

SUCCESS IS IN MY MIND - AND I DON’T WANT IT POLLUTED. THERE’S A HIGHER TASTE THAN WHAT THIS WORLD OFFERS AND THAT’S WHAT I’M LOOKING FOR. FUCK THIS BULLSHIT.”

- TRISTAN @SUTRAS

ANY SHOWS OR TOURS COMING UP?

“With our lives and material shit we have holding us down a tour seems like wishful thinking. I won't write it off but it would take some kind souls to help me out with it. As of now we have a rare live performance scheduled with Nuvolascura and Ostraca at my favorite venue in the world, Rhizome, in D.C. on May 3rd. We'll play more shows as we're asked to play them and the timing works out.”

SO WHAT’S NEXT FOR THE BAND NOW?

“Well the fact that this record is coming out and we're playing a single show is a fucking miracle. I'm personally hanging on by a fucking thread. I hope there's more but we'll see.”

ANY CLOSING WORDS FOR THE READERS?

“I hope these songs bridge the gap of our wide love of punk rock and underground music. I hope these songs are relatable to anyone suffering. We have a wide range of experience and while we are not professionals - maybe that would be helpful. Community is important. Don't fight alone.”

Truly none of us are ever alone. You’re reading this so please know that this world is better off with you in it. I don’t give a fuck how cheesy that sounds because it’s true. I’ve lost a lot, hell, we’ve all lost a lot, and some days it can feel like you’ll lose more than you’ll ever gain back but as Tristan mentioned earlier in this interview, we don’t have to feel that way forever.

Although our struggles may all be vastly different, I assure you that all these intrusive thoughts are very universal. It’s part of what makes us human, knowing that we all face our own mental hells and spiritual inquiries is a result of the capitalist world that we live in, and that collective chaos, well that, is what unites us all, so welcome to the kingdom kids.

The Crisis Of Existence will be streaming everywhere on April 16th and there will be a limited number of tapes available through Tomb Tree Records.

Welcome to the kingdom kids,
It’s beautiful and collecting dust
the material world hates us all

Welcome to the kingdom kids,
discipline has one taste,
the taste - of liberation
and the trouble is, you think you have some time
and the trouble is, you think you have some time

Welcome to the kingdom kids,
the rivers laugh at both you and me,
while we’re stuck under the desire tree

We see, we hear, we taste, we smell, we touch and we think
we take it for granted
unless we choke, unless we drown, or suffocate
we love the flowers here, and they always fall
we hate the weeds here, and they always grow

Sutras is Tristan Welch on guitar and vocals & Frederick Ashworth on the bass and drums.

Follow them on Instagram here : Sutras

Writer : @just_reidz

Editor : @garevthistle

03/25/25

Robert Reid 3/19/25 Robert Reid 3/19/25

Low Before the Breeze

When hope is at its lowest, when we fight and we scream at the world, crying out against the thousand paper cuts that score the skin, we seek comfort from duress. For some of us, therapy is our therapy. Others use their art to lift themselves from the dark — and some of us find solace in that. Today’s new music review is the track Proverbs 7:22 from Atlanta’s Low Before the Breeze, and this is the kind of track that seemed to act as catharsis for its authors, but serves its audience with its existence.

The opening chords ring out, thick with distortion, and a driving pummeling baseline that slides up the neck may not be your first introduction to Low Before the Breeze, who released the single Night Wept on Valentine’s Day, 2025. To begin with, Low Before the Breeze is best described as “a band whose ability to defy genre expectations is certainly going to start arguments based on how reviewers decide to classify them in order to increase their appeal.” This is a subject that we’ve spent far too long discussing about all the genre-bending awesomeness that we’ve been exposed to this year, and Low Before the Breeze is another band that I’d happily play Devil’s advocate when arguing for or against their inclusion in a given genre.

Ultimately, Proverbs 7:22 is the sum of many influences, and when you expose yourself to the Venn diagram of bands like Majority Rule, Altar of Plagues, and Portrayal of Guilt you’ll find that all bands are UNDENIABLY heavy. The swarming guitar riff that kicks in at 10-seconds harkens to that post-blackened sound, and the subtle electronics and burbling noises (headphones, people) lend themselves to all the sonic possibilities that rise to the surface of repeated listens. So is it chaotic blackened hardcore? Blackened screamo with a mewithoutyou influence? Mathcore? The classifications and “for fans of” statements are helpful starting points when exploring new music (or starting arguments in the group chat).

This new track is part of the forthcoming full length, A Hole Beneath the Home We Shared, which is to be released this May. In conversation with the band they remark that the creation of the album was “a fucking mess” but if the currently released tracks are indicative of the sum of their parts, we’re in for “a fucking treat.” Guitarist and vocalist, Andrew, provided context to the writing process on the album, noting that he would often go “to practice with an outline of a song, and then the band will break it down and refine it until it turns into something that reflects our collected personality.”

“WHILE THE COMMON THEME IN METAL ORIENTED MUSIC IS TO FOCUS ON POSTURING TOUGHNESS, I'D MUCH RATHER HIGHLIGHT MY MOMENTS OF VULNERABILITY. I WANT TO CONVEY KINDNESS.”

- ANDREW, @LOWBEFORETHEBREEZE

The inspiration for the record is a chronicling of dark times run through the filter of religious guilt. Failing relationships, abusive relationships, and the near death of loved ones bring power to the music of Low Before the Breeze. Flipping that script on the brutality and machismo associated with heavy music, the band offers its experience to help others, whether through the trading of stories and shared experiences or support in finding the necessary resources to see somebody through the difficulty life puts in their path.

The record was recorded by Conner Ray at Sobek Sound Studios, mixed by Simon Small (Tunnel of Reverb) and mastered by Erol Ulug at Hi Octane Recordings. It is being released by Terminus Hate City.

They’re a very heavy band based in Atlanta, and they’ve created an incredible piece of music in Proverbs 7:22, enjoy.

Proverbs 7:22 by Low Before the Breeze:

From the day that you crawled into my home
I could tell that you were hungry, starving
First I’m screaming at the gas pump
(Screaming)
Next I’m weeping to the parish
(Weeping)
Methadone Lockbox
(That I paid for)
That we paid for every other day
I often wonder if it’s just your nature
Or if your god made you a martyr
Just like your boy

Low Before the Breeze is Andrew Spann on vocals, guitar and electronics, Johnathon Kemp on guitar, Dennis Maganda on bass, and Jonathan Balsamo on drums,

Follow them on Bandcamp here : Low Before the Breeze

Writer : @garevthistle

Editor : @just_reidz

03/25/25

Robert Reid 3/17/25 Robert Reid 3/17/25

Emery

Emery was a post-hardcore band that existed somewhere between 1993 and 1996. In the mid 90s D.I.Y punk music was nearing its peak popularity. Emery was on the cusp of a very special point in time; in the inland empire that birthed them, Emery was surrounded by a bustling hotspot of influential and emotional punk bands. During their brief time, Emery frequented popular venues of the era such as the Jabberjaw, Che Café and the Huntington Beach Library; sharing bills with emo greats like Christie Front Drive, Boys Life, Giants Chair, Boilermaker, Evergreen, Julia, Nuzzle, Ex-Ignota and Still Life.

While every one of the aforementioned bands have more or less got their due by now, Emery stands out as a talented group that is deserving of a fair bit more attention. I am proud to say that finally, after 30 years, one of Emery’s long lost studio sessions has been remastered and will appear on vinyl in the very near future on the new Dimensional Projects label. To be able to hear more from this band after such a long time is a complete blessing and I really hope people start tuning in to this band’s wavelength, as their unique energy and spirit is breathtaking and still somewhat unmatched.

Somewhere in the years that have passed since the burgeoning 90s punk scene reached its heyday, likely due to their limited output and pre-internet obscurity, Emery became lost in the fold somewhere along the way, even though they were on par with the very best. Jae Rodriguez once told me that; compared to Jimmy Eat World, who they most famously had a limited-run 7” split with “We were like a pack of feral cats” which I think is a perfect way to describe Emery; a wild passionate whirlwind of controlled chaos and blinding energy comparable to influential bands like Drive Like Jehu and Hoover. Emery was tight, technical and had a lot of impressive instrumental interplay. I originally came across Emery when I found their sole 7'‘ in a pile of old 45s at an antique store and the two tracks on it really blew my mind. I’m more than excited to hear more as these new singles slowly roll out.

Today another Emery single will be released, so make sure to tune in to have your head blown clean off! Dimensional Projects other two scheduled releases will focus on The Western Expanse, a continuation of Emery. The boys found a renewed spirit and created an even more polished and remarkable sound. Keep an eye on Dimensional Projects in the near future for more information about these incredible releases. For now, have a listen to Emery’s The Smarter In You, one of their “new” tracks that have remained unreleased for 30 years up until this moment!

Emery is Jae Rodriguez & Kevin Adamson on guitar, Chris Smith on bass and vocals, Aaron Wimberley on the drums.

Follow their releases here : Dimensional Projects

Writer : @canadianwasteland

Editor : @just_reidz

03/17/25

“THE OVERALL THEME OF THAT EP IS TO BRING OUT IN A CATHARSIS ALL THE ANGER, FRUSTRATION AND ANXIETY CREATED BY THE ILLUSION THIS WORLD CREATES. WHEN YOU’RE BECOMING AN ADULT ALL THE ILLUSION AND HOPE YOU HAD FOR THIS WORLD ARE BEING FRACTURED LITTLE BY LITTLE.

WE THINK THAT ONE WAY TO BRING PEOPLE TOGETHER IS TO ACCEPT THESE EMOTIONS, TO BE OKAY WITH BEING VULNERABLE. WEAR YOUR HEART ON YOUR SLEEVES AND COMMUNICATE, YOU WILL THEN KNOW PEACE.”

- L’IDYLLE, @L_IDYLLE

- L’IDYLLE, @L_IDYLLE

- LUKAS, @SPRINGCOLOURSBAND

- SERENITY, @IGOTMYTOPSURGERYATCLAIRES

“WE REALLY WANTED TO CAPTURE THE FEELING OF SEEING YOUR DREAMS SLIP AWAY TO AN INCREASINGLY FACISTIC SOCIETY, RATHER THAN BEING DIDACTIC IN OUR LYRIC WRITING.

BECAUSE OF THAT WE’VE TRIED TO INTERJECT MOMENTS OF JOY AND CELEBRATION TO THE MUSIC, WHETHER IT BE WITH OUR INTERLUDES OR THE DANCING IN THE MUSIC VIDEO.”

- EMMA GOLDMAN, @EMMAGOLDMANBAND

SHOOTING THIS VIDEO IN A CLOSED MALL TO ME VISUALIZED A TIE IN TO THE ALBUM ART AND SOME OF THE ALBUMS THEMES WHICH SHOWCASE THE EVILS OF CAPITALISM. ASIDE FROM THAT, WHERE DID THE INSPIRATION FOR THIS MUSIC VIDEO PREMISE COME FROM?

HATERS WILL SAY THIS MUSIC VIDEO WAS SHOT ON A GREEN SCREEN, ANY TRUTH TO THAT?

HOW DO YOU SUGGEST WE CREATE SOME POSITIVE CHANGE IN A CAPATLIST SOCIETY THAT GROWS MORE EVIL BY THE MINUTE?

“THE BIGGEST TAKEAWAY I’D LIKE TO SEE FROM THIS BAND IS THAT THE MYSPACE ERA OF METAL AND HARDCORE IS ALIVE AND WELL. REALLY THIS PROJECT IS A THROWBACK TO WHAT I FEEL TO BE A BETTER TIME FOR MUSIC.”

- DANIEL SECORD, @905ENDLESS

“I JUST WANT SMALL ROOMS TO PILE UP HARD AGAIN, IF PEOPLE SHOUT MY OWN LYRICS BACK AT ME THEN I’D CONSIDER THAT WINNING THE LOTTERY”.

- JIMMY, @BITCHJAGGER_YXCXHXC

BITCH JAGGER IS A RELATIVELY NEW BAND, BUT Y’ALL LOOK & SOUND LIKE VETERANS SO WHAT’S THE HISTORY HERE?

WHAT DOES THIS RELEASE REPRESENT TO YOU AND WHAT DO YOU WANT IT CONVEY TO THE LISTENERS?

SO WHAT’S NEXT FOR THE BAND IN 2025?

ANY CLOSING WORDS FOR THE READERS?

WHAT WERE SOME OF THE INSPIRATIONS YOU HAD ALL DRAWN FROM WHILE WRITING THE FEATHERWEIGHT EP?

WHAT’S THE BUBBLE SCARY WRITING PROCESS CONSIST OF?

WHAT DID YOUR RECORDING PROCESS ENTAIL FOR THIS EP?

WHAT DO YOU HOPE THESE SONGS ACCOMPLISH FOR YOUR BAND AND FOR YOUR LISTENERS?

SOME SONGS ALSO TOUCH ON THE OVERARCHING FEAR OF ONE’S INABILITY TO CHANGE AND THAT THERE IS SOME INESCAPABLE FATE. ULTIMATELY THE SUBJECT IS HOW THAT CONFRONTAITON WITH YOURSELF - THAT HONESTY - CAN HURT! AND IT CAN BE HARD AND YOU MAY BURY IT BUT MUST BE FACED AT SOME POINT.”

- CHUKA, @BUBBLE.SCARY

SO NOW WHAT’S NEXT FOR THE BAND?

ANY CLOSING WORDS FOR THE READERS?

“[PALEHORSE] IS ABOUT A FRIENDSHIP HAVING RUN IT’S COURSE - WHEN YOU REALZIE THAT YOU AND SAID FRIEND HAVE LESS IN COMMON - WHETHER THAT’S THROUGH ONE PERSON’S STAGNATION OR THE OTHER’S GROWTH- AND THE THREADS THAT HOLD THE FRIENDSHIP TOGETHER HAVE STARTED TO UNRAVEL.

SOMETIMES YOU HAVE TO LET A DYING THING DIE, BUT YOU START TO BLAME YOURSELF FOR IT AND QUESTIONING THE WHAT-IFS MIXED EMOTIONS, DOUBT, BLAME, ETC.”

- DAVE, @BACKCHANNELBAND

“AT A TIME WHEN OUR COMMUNITY WAS REELING FROM THE DEVASTATION OF A HURRICANE AND THE WORLD IN GENERAL WAS BECOMING A MORE TERRIFYING PLACE, IT FELT IMPORTANT TO LET PEOPLE KNOW THAT YOU’RE THERE FOR THEM.”

- BRANDON, @SERRATE.NC

WHAT INSPIRED YOUR CREATIVITY DURING THE WRITING PROCESS FOR THIS ALBUM?

“I WAS IN HIGHCHOOL DURING THE GOLDEN AGE ON INTERNET PIRACY THAT WAS CENTERED AROUND BLOGSPOTS; I WOULD DOWNLOAD TEN OR SO ALBUMS AT A TIME AND LISTEN TO THEM AT SCHOOL THAT WEEK. I WAS ENAMOURED WITH THE LOFI RECORDINGS AND MELODIC ELEMENTS JUXTAPOSED WITH RAW EMOTIONAL SHRIEKING VOCALS.”

“IN AN ERA WHERE HARDCORE AND EMO WERE BECOMING COMMERCIALIZED AND OVERPRODUCED, I FOUND A COUNTERPOINT THAT EMBRACED THE DIY ETHICS AND AESTHETICS THAT I CRAVED AND THAT’S EXACTLY THE TYPE OF EXPIERIENCE I HOPE ENNUI PROVIDES TO THOSE WHO SEEK IT.”

- MIKE, @ENNUI.LINY

WHAT WERE SOME LYRICAL TOPICS & INSPIRATIONS ON THIS ALBUM?

“THIS RECORD HELPED ME HEAL AND DEAL WITH A LOT UGLY EMOTIONS AND TRAUMA, IT’D BE BEAUTIFUL IF IT HAS A SIMILAR EFFECT ON OTHERS WHO GIVE IT A LISTEN.”

- CHASE, @OPENCARRYSTATE

HOW WAS THE WRITING PROCESS THIS TIME AROUND FOR THE SONGS ON THIS SPLIT?

“CHUCK STEAK IS AN ADRENALINE RUSH. WE WROTE BOTH SONGS [ON THIS SPLIT] ACROSS SEVERAL MONTHS - WE’RE RARELY FAST WITH WRITING SONGS AND TEND TO GET VERY STUCK ON THE INTRICACIES.”

- JORDAN, @GILCERONE

HOW WAS THIS SPLIT RECORDED?

WHAT’S NEXT FOR GIL CERRONE?

ANY CLOSING WORDS FOR OUR READERS?

“THE THEME IS THE SAME AS IT ALWAYS IS FOR US. CATHARTIC RELEASE THROUGH MUSIC — SCREAMING INTO THE VOID ABOUT PERSONAL, MENTAL, AND SOCIALLY POLITICAL TOPICS THAT AFFECT US AND LOTS OF OTHER PEOPLE.”

- MICHAEL SHEPHERD, @KIRBYKISS

“I THINK BOTH MUSICALLY AND VOCALLY I DEMANDED A LOT MORE FROM MY SONGWRITING THAN I HAVE FOR PREVIOUS RELEASES.

LYRICALLY I FOUND MYSELF IN A PLACE OF TRYING FOR A NEW BEGINNING, ALTHOUGH THAT ENDED UP BEING AN ODYSSEY AND DESPITE THAT - OR PERHAPS BECAUSE OF IT - I STIRRED UP SOME PAIN THAT GAVE ME A LOT OF CLARITY”.

- DANIEL BECKER, @AMIDTHEOLDWOUNDS

WHAT DID THE BANDS WRITING PROCESS CONSIST OF FOR THIS RECORD?

“WE JUST WANT TO PLAY HEAVY AND FAST. WE WANT AS MUCH OF THE PUNK ETHOS AND SOUND THAT WE FELL IN LOVE WITH AS KIDS WHILE PAYING HOMAGE TO THE BANDS I THINK ARE FRANKLY OVERLOOKED AND UNDERREPRESENTED IN HEAVY MUSIC TODAY.”

- KYLE, @BODYMINUSHEAD

SO WHATS NEXT FOR THE BAND AFTER THE ALBUM DROPS?

ANY CLOSING WORDS FOR THE READERS?

SO WHAT DID THE WRITING PROCESS CONSIST OF FOR THIS FINAL RECORD?

ANY MORE SHOWS OR TOURS COMING UP FOR THIS SENDOFF?

“WE BELIEVE IN NON-EUCLIDEAN GEOMETRY, AND REFUSE TO PLACED IN BOXES OR JAIL CELLS. THEMATICALLY HOWEVER, THE ALBUM IS JINGLES FOR OUR PREMIUM CHICKEN MILK™ PRODUCT.”

- DEREK @SOCIALCATERPILLARMKE

ANY CLOSING WORDS FOR THE READERS?

“I’LL ALWAYS PUT JOSHUA FIT FOR BATTLE AS THE MAIN INFLUENCE IN THE MIXTURE OF OUR SCREAMO, AND THAT ‘METALLIC’ SOUND WE ADOPT FOR SONGS LIKE AKEMI HOMURA BUT TSUCHIMIKADO KUON AND YAMAMOTO NAOKO WERE DEFINITELY INFLUENCED BY EMOVIOLENCE, I’D REFERENCE JEROMES DREAM IN PARTICULAR.”

- FERNANDO @RETRATOSDEHEROINA

SO HOW DID THIS SPLIT COME TO FRUITION BETWEEN THESE TWO BANDS?

WHAT’S THE LYRICAL TOPICS FOR YOUR TRACKS ON THE SPLIT?

WHAT DID THE WRITING PROCESS CONSIST OF FOR YOUR HALF OF THIS SPLIT?

SO WHAT’S NEXT FOR RETRATOS NOW?

ANY CLOSING WORDS FOR THE READERS?

SO WHAT DID THE WRITING PROCESS CONSIST OF FOR THIS RECORD?

WHAT CREATED THE URGENT MESSAGES OF US ALL NEEDING TO DETACH FROM OUR MATERIAL WORLD THAT HAS BECOME A THEME THROUGHOUT THIS RELEASE?

“THE MESSAGE? WE DON’T HAVE TO FEEL THAT WAY FOREVER. WE WON’T FEEL THIS WAY FOREVER. WITHOUT LEANING TOO HARD INTO NIHILSTIC TENDENCIES - I’VE LEARNED IT’S OK TO BE LESS.

IT’S OK TO JUST BE ME. BEING THE BOSS, THE MANAGER, THE WINNER, THE LEADER. NONE OF THAT RELATES TO MY SPIRIT. I DON’T WANT TO BE TIED UP TO MATERIAL ITEMS WITHOUT A SPIRIT… IT’S CLUTTER.

SUCCESS IS IN MY MIND - AND I DON’T WANT IT POLLUTED. THERE’S A HIGHER TASTE THAN WHAT THIS WORLD OFFERS AND THAT’S WHAT I’M LOOKING FOR. FUCK THIS BULLSHIT.”

- TRISTAN @SUTRAS

ANY SHOWS OR TOURS COMING UP?

SO WHAT’S NEXT FOR THE BAND NOW?

ANY CLOSING WORDS FOR THE READERS?

“WHILE THE COMMON THEME IN METAL ORIENTED MUSIC IS TO FOCUS ON POSTURING TOUGHNESS, I'D MUCH RATHER HIGHLIGHT MY MOMENTS OF VULNERABILITY. I WANT TO CONVEY KINDNESS.”

- ANDREW, @LOWBEFORETHEBREEZE

NOT JUST A PHASE

**WHAT WERE SOME OF THE INSPIRATIONS YOU HAD ALL DRAWN FROM WHILE WRITING THE FEATHERWEIGHT EP?**

**“THE MESSAGE? WE DON’T HAVE TO FEEL THAT WAY FOREVER. WE WON’T FEEL THIS WAY FOREVER. WITHOUT LEANING TOO HARD INTO NIHILSTIC TENDENCIES - I’VE LEARNED IT’S OK TO BE LESS.**