Posts Tagged ‘Punk’

Watch: ‘Take Control’ by Overstand

Posted: 4 October 2025 in Recommended Streams and Videos, Singles and EPs
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One of Arizona’s fastest-rising hardcore acts, OVERSTAND, are taking things to the next level with the release of their long-awaited debut full-length album, Take Control, out October 3.

In a major show milestone, Overstand brought their explosive live energy to Arizona’s legendary Marquee Theatre earlier this summer, supporting hardcore icons Suicidal Tendencies. It was a fitting match for a band that’s spent the past few years building a reputation for unrelenting, classic hardcore fury with a modern edge.

Born during the stillness of the pandemic lockdown, Overstand formed in 2020 when longtime collaborators and veterans of the hardcore scene came together with purpose and urgency. In isolation, they wrote 23 songs, seven of which became their 2022 debut EP — released self-titled in the U.S. and as 24 Hour Catastrophe in Europe via Conviction Records. That record lit the match, and now Take Control is the explosion: ten tracks of pure, unrelenting, no-bullshit hardcore.

Check the title track here:

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With former members of Warzone, Roger Miret and The Disasters, Vision, District 9, Casket Life, and North Side Kings in the ranks, Overstand has quickly become a name to watch, both in the States and abroad. They’ve torn up stages alongside Sheer Terror, Ignite, The Dwarves, Death by Stereo, Manic Hispanic, Kill Your Idols, and more, as well as holding their own at festivals like Within These Walls.

The full-length’s cover art is a collaboration between Mick Lambrou and Steven Huie — two highly respected names in the world of punk and hardcore visual culture. Lambrou, based in Australia, is known for his iconic designs for Murphy’s Law, Slapshot, Shutdown, Agnostic Front, Madball, and many more. Huie, owner of Flyrite Tattoo, is behind legendary artwork for bands like Madball, Crown Of Thornz, and Sick Of It All, adding even more legacy and impact to Take Control’s visual identity.

Bassist Roy Valencia also holds down low-end duties for The Outlaw Vinnie Stigma, a powerhouse lineup featuring Vinnie Stigma (Agnostic Front), Chip Hanna (U.S. Bombs), and Jesse Wagner (The Aggrolites) — along with members of Gogol Bordello, including Eugene Hütz, Sergey Ryabtsev, and Leo Mintek. Roy recently wrapped a high-energy East Coast run with the band, delivering the same fierce intensity onstage that defines his work with Overstand.

Overstand isn’t interested in nostalgia or posturing — they’re here to Take Control, and their new material makes that abundantly clear. Brutal, focused, and burning with intent, this is hardcore done right.

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Upcoming Shows:

Oct 11th – Middletown, Connecticut @ Silk Arcade
Oct 12th – NYC @ The Bowery Electric w/ Incendiary Device
Oct 18th – Tempe, AZ – Record Release Show @ Yucca Tap Room

Nov 20 – Houston, TX – Winter Weekender Preshow
Nov 22 – Tempe, AZ @ Marquee Theater w/ FEAR

Dec 12 – Mesa, AZ @ Rosetta Room w/ Madball

Wench! / Blair Bitch Project / Static Lives / Innovation Way The Fulford Arms, York – 27th September 2025

Posted: 28 September 2025 in Live, Reviews
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Christopher Nosnibor

Anyone who suggests that the fact most gig lineups are male-dominated because there is a lack of female representation, or of quality female fronted acts on the rock scene is simply wrong. Tonight’s killer lineup is undeniable proof to the contrary.

Innovation Way really aren’t innovative in any way, playing a set that’s 50% originals and 50% emo covers, but it’s clear that they’re just starting out, finding their feet and their identity, so I’m not going to give them hard time over it. The originals don’t feel quite as evolved in terms of songwriting, but the only way to develop is to be given opportunities to try out, and they play well, really well, and one day they’ll be playing 90% originals and stretching further – and what’s more they’ve brought a lot of their uni mates down, so the place is busy. That means tickets sold and money over the bar. These are good things right now. It does seem strange to me that people in their twenties are now picking up on music that was big around the time they were born, but I suppose this is a generational thing. I’m just more surprised by the idea of an emo revival than a grunge revival.

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Innovation Way

On the subject of developing, I had fully expected to report that Static Lives look very much like Weekend Recovery, and their sound isn’t a million miles away either. But this is not the case: having started out with the same lineup but new material, they’ve reconfigured as a five-piece, with two guitars, synths, and the vocals shared three ways. Having have just completed their first headline tour, which sold out, their place third on the bill was more likely due to travel needs than anything else. No two ways about it, they’re good: they bring the energy and look to be really enjoying themselves. The sound is full, there’s details and dynamics happening all over. The diminutive bassist whacks out some chunky low-end while also contributing a considerable amount of the vocals. This new division of labour means Lori can focus more on guitar and also being part of a team rather than the primary focus, and she seems to revel in this freedom.

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Static Lives

Returning to the grunge revival, Blair Bitch Project bring Sabbathesque riffery and hints of folk horror married to gnarly grunge stylings. Despite the bassist being a late substitution, they’re tight and solid, and play with a confidence that carries not only the band, but the crowd. The drummer and vocalist switch for the third song and it’s a real heavyweight, with explosive riffery and thunderous percussion and a low-registering, gritty bass. Mid-set, with the drummer still on vocals, they deliver a cover of ‘Plump’ by Hole delivered with the raw intensity of the original. They get slower and heavier as the set progresses, and towards the end drop a second Hole cover, this time a ragged rending of ‘Teenage Whore’. There’s no question as to their influences, and they play with so much force that it’s hard to fault.

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Blair Bitch Project

“Anyone else got a sweaty crack?” asks the singing drummer of WENCH! before introducing a song about men who shouldn’t have access to the internet, bursting with angular guitar and shouty vocals before ripping into a roaring scream and gut churning riff. Yep, they’re from Hull, they’ve no filter and they’re fucking phenomenal – and they don’t even know it, which makes us love them all the more.

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Wench!

They, too, bring some Sabbath-inspired riffery, but there’s a whole lot more to them than that, not least of all high-octane punk, with the energy and aggression amped up to eleven. A measure of their structure is the fact the guitarist has two pedals, while the bassist has eight: the rhythm section dominates, and there’s wah-wah and shedloads of distortion on that dominant bass that shapes the songs in a unique way. Their set is a relentless rush, and the channel their feminist fury into the most glorious guitar-driven exorcism. Aesthetically, they are the absolute definition of punk, and the adrenaline rush they deliver is direct and pure.

Yes, yes, and YES! THIS is what it’s all about.

Listen: ‘I Thought You Liked Me!’ by Sour Tongue

Posted: 20 July 2025 in Recommended Streams and Videos, Singles and EPs
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The Los Angeles-based punk band Sour Tongue was formed in the early days of the 2020 pandemic by Satori Marill and John Murphy, the mission of the alternative rock, grunge and riot grrrl influenced quintet remaining the same ever since their inception: “when it stops being fun, we’ll end it.” Fusing disco with grunge, hardcore punk with country, plus much more, Sour Tongue utilise humour and a degree of sonic absurdity to convey a deeper message of angst and desperation.

Having developed a global fanbase via four previous singles, an EP, plus a US tour with industrial rock heavyweights KMFDM, the band’s bright and breezy new single ‘I Thought You Liked Me!’ was written about a near universal experience felt by girls. “I wrote the song about being manipulated and lied to, getting fed up and reversing the roles,” states vocalist Marill. “I wanted to talk about reactive impropriety, but with a feeling of guilt tucked beneath it, because I think a lot of people are ashamed to admit when they do something out of spite. I think anyone who has ever had their heart broken and done something stupid in return can relate to it.”

The single is taken from a forthcoming EP entitled Final Girl, their most personal set of songs to date. Told as a story in four parts, it is about the intersection of grief, betrayal and heartbreak, yet loving through it all. It’s dark, it’s angry, it’s funny, it’s heartbreaking. It’s a horror comedy.

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Listen: ‘Prison Cheese’ by Haraball

Posted: 1 July 2025 in Recommended Streams and Videos, Singles and EPs
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After years of gestation, hibernation, and (probably) procrastination, Norwegian punk outsiders Haraball are back with Fear of the Plow, their most unhinged and gloriously unpredictable album to date. The first taste, lead single ‘Prison Cheese’, is out now on all major digital platforms.

The band had this to say about the single: “’Prison Cheese’ is about volunteering as a gravedigger, helping the local village idiot sort the corpses “correctly”. It’s a morbid tale, but also a celebration of high quality gardening tools and the joys of manual labour.”

Following up 2019’s Hypno, this new record dives deeper into the sonic identity Haraball stumbled upon by accident and then decided to keep: a volatile blend of hardcore, 60’s psych-rock, post-punk, and whatever else they had lying around that didn’t make them cringe. Somehow, the result is even darker, rawer, and yes, uglier than before. But not without the occasional accidental beauty.

“This time, parts of it almost sound pretty,” the band admits. “Some might even say it sounds mature. And we’ll just have to live with that.”

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Photo by Kimm Saatvedt

Cash Bribe – Demonomics EP

Posted: 11 June 2025 in Reviews, Singles and EPs
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Futureless – 13th June 2025

Christopher Nosnibor

Formed in Brooklyn in 2019, Cash Bribe have released a couple of previous EPs, showcasing a sound that brings together a number of elements, but above all brings the riffs. And they’ve really turned things up a way for their latest offering, a few tracks from which we’ve already aired here at Aural Aggravation.

While it’s something of a vogue right now for bands of heavy, and particularly a metal, persuasion, to open an EP with a short intro track that’s delicate and atmospheric, and eases the listener in before hitting the pedals, Cash Bribe aren’t here to piss about with pleasantries or conventions, and the minute-and-a-half long opening track, ‘Feral’ arrives in a ferocious wall of feedback and hammers in hard and fast, a frenetic blast of raw and raucous hardcore punk that’s nothing short of savage.

Single cut ‘Bay of Pigs’ powers in before the feedback’s faded, and it’s propelled by some mighty drumming: Larry Koch is a hard-hitter, but what’s more, the drums are up in the mix and drive the track hard.

These are dark and difficult times globally, but America… America, WTF? Where to begin? It’s hard to articulate, and this is precisely why this EP is perfect, a spitting, savage roar, equal parts rage and nihilism. More often than not, I would unpack the social or political context, and perhaps explore my own reaction to the material in a reflective fashion. But sometimes, the task feel too great, and what’s more, the material speaks for itself. It’s positively explosive, and bludgeons the listener without mercy..

The title track is the longest, clocking in at exactly four minutes, and is maintains a hundred-mile-per-hour pace for its duration. There is no let-up on this EP: it is truly relentless, and the fury flames unabated. It’s all killer, alright.

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Belk + Casing – Liminal Veil (EP)

Posted: 8 June 2025 in Reviews, Singles and EPs
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Panurus Productions – 2nd May 2025

Christopher Nosnibor

Northern noisemongers Belk are no strangers to the virtual pages of Aural Aggravation: I personally first caught them live as a duo back in 2021, when I remarked in my review that as fierce as they were, they might benefit from some bass. I could never have imagined just how much. These days, their sound is dominated by some juddering low-end that’s practically arsequake. It’s as if they thought ‘you want some bass, eh, bastard? Here’s some fookin’ bass. BOWWWWWWWMMMM’. They’ve certainly evolved over the last four years – but what that means, in real terms is that they’ve developed methods of making noise that’s even more nasty and gnarly and generally unkind to the eardrums. This is a good thing, and ‘Flayed’, the first of their two contributions to this split release is a beast. It has a definite and undeniable sense of swing to it, a swaggering groove that’s somewhat unexpected. But what is expected – and delivered – is a crashing riot of noise, a juddering wall of distortion, squalling, dirty guitars, drums blasting at a hundred miles an hour and guttural vocals half-submerged by the swirling chaos, with tempo changes galore and simply all hell happening at once inn explosive, brutal frenzy.

‘Cloak of Bile and Oil’ begins a little more gently – and for a moment I’m reminded of the intro to Fudge Tunnel’s ‘Hate Song’, which inevitably bursts into shards of incendiary sludge and squall – and sure enough, so does this, the extended intro giving the deluge of noise even more impact when it finally does arrive. They describe their style as ‘Blackened Leeds Hardcore’ and this must surely be a definitive example of what that means.

Casing are an unknown quantity, and their two contributions are brief – the longest piece is just over two minutes in duration. The sound they offer is certainly no less abrasive or disturbing. There’s nothing to indicate what the initialisms of the song titles actually mean, but the electronic excursion which is ‘L.U.A.N.L.B.’ begins with some rumbling dark ambience, soon rent with the wail of siren-like feedback, before a wall of harsh noise distortion swells like a tsunami and swallows everything. In contrast, ‘D.T.H.D.T.C.’ launches headlong into a gut-churning blast of manic grind, with a nauseating bass churn to rival that of Belk.

What it lacks in duration (the four tracks have a combined running time of less than eight minutes), this release more than makes up in devastating intensity. Mission accomplished.

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Lower Slaughter – Deep Living

Posted: 8 June 2025 in Albums, Reviews
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Human Worth – 6th June 2025

Christopher Nosnibor

Where does the time go? No, really? I’m not just stunned by the fact we’re a week into June already, but the fact that it’s been six years since the last Lower Slaughter album, and nine years since I missed their show in Leeds with Working Man Noise Unit supporting because I was watching Man of Moon play to a nearly empty room across town instead. That’s almost a decade I’ve spent being frustrated by my inability to clone myself, and I find it hard to let these things go.

They’ve undergone some changes since their last outing – changes of the nature which would have terminated, many a band. Their bio traces a raid succession of personnel switches:

Following the departure of long-time vocalist Sinead Young, their surprise return in 2024 saw the remaining former members unveil a new line-up, welcoming James Gardiner to the fold on bass, and with previous bass player Barney Wakefield switching over to vocal duties. Upon Gardiner’s addition, a considerably more expansive sound has emerged, bringing the band’s now recognised output of what the Quietus once referred to as ‘lurching noise-rock’ to new exciting heights, all the while set against an equally more confident and expansive dynamic, reinforced by the chemistry of Graham Hebson and Jon Wood, who remain tighter than ever on drums and guitar respectively.

And so seemingly miraculously, they’re still here. Thus, we arrive at Deep Living, a colossal twelve-track document of the new Lower Slaughter, a release of blistering overload dominated by rolling percussion and thick bass. It’s varied, to say the least, and most certainly does not pursue the most obvious or commercial avenues. It was certainly worth the wait, and we’re most grateful that they are still here. And because it’s being released by Human Worth, 10% of all sales proceeds donated to charity The PANDAs Foundation – a trusted support service for families suffering with perinatal mental illness.

After a good couple of minutes of rolling, tom-driven percussion and muted vocals which sit partially submerged beneath a fat, fuzzed out bass ‘Year of the Ox’ suddenly slams the pedals on and erupts and Wakefield roars in anguish, ‘My eyes! My eyes!’. ‘Take a Seat’ is quite different, more overtly mathy, post-punky, and more accessible overall, despite its hell-for-leather pace and wild energy, and there’s a bit on jangle to altogether mellower ‘The Lights Were Not Familiar’ that’s a shade Pavementy – but it’s Pavement as covered by Fugazi. And the guitars sound loud. In fact, everything on Deep Living sounds loud, and what’s more, the recording and mixing work done by Wayne Adams (Petbrick/Big Lad) captures and conveys that it such a way that it feels loud, like you’re in the room with the backline practically in your face. This is nowhere more apparent than on ‘Dear Phantom’, which has something of a Bug-era Dinosaur Jr vibe to it – and the big grungy riff is magnificent. Then halfway through it goes slow, low, and sludgy – and that’s magnificent too.

Balancing melodic hooks and some quite breezy indie / alt-rock with some hefty, heavier and hugely overdriven passages, Deep Living has some range.

The six-and-a-half-minute ‘Memories of the Road’ is a slow-burning epic that builds to a roaring finish, and makes for a standout cut. It’s a trick they repeat on the title track which brings the album to a close.

In between, ‘Hospital Chips’ brings pace and jittery tension via thumping bass and jarring, sinewy guitars, and straight-up punk brawlers ‘The Bridge’ and ‘Motions’. All the range, but it’s the fact there are tunes galore that make Deep Living a cracking album.

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Shonen Knife / Speedreaders – The Crescent, York, 6th June 2025

Posted: 7 June 2025 in Live, Reviews
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Christopher Nosnibor

Sure, having Kurt Cobain proclaim his fandom and bringing them on tour as a support act may have helped bring Shonen Knife to a wider audience, but in the Internet age, when it’s much easier to discover bands who aren’t shoved under your nose by pluggers and playlists, it seems probable that they’d have reached the current place on their journey on their own merits.

And so it is that the original all-female Japanese pop / punk power trio return to York after quite some time, bringing their ‘Have a Knife Day’ tour to a sold-out Crescent the night after stopping at the legendary Brudenell in Leeds. With the twenty-seven EU / UK tour taking in Hebden Bridge, Manchester, and Sunderland, it’s nice to see the North getting a decent share of shows, and the turnout and response tonight shows it’s appreciated.

The front bar is busy a good half an hour before the doors open, and local support Speedreaders seem genuinely surprised by the size of the crowd they’re playing to. They’re never the most conversational of acts, with the gaps between songs spent turning up and keeping their eyes to the floor, but their brand of slowcore indie – a significant contrast to the headliners’ uptempo style – is well-received, and deservedly so: they’re tight, and the arrangements are such that there is considerable air between the instruments, The sound is crisp and clear, and their concise set no doubt won some new converts.

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Speedreaders

Shonen Knife set up their own kit – drums, the lot, tuning, etc., all wearing their own current tour shirts. One bass pedal, perhaps half a dozen guitar pedals, small amps, there’s nothing fancy about their setup. That’s the essence of punk right there. A tech does come on and make some final checks before they return, T-shirts removed to reveal their co-ordinated colourful stage dresses, and they’re proceed to serve up a set which is pure joy from beginning to end.

For a band that’s been going for nearly forty-five years, their lineup has been consistent for long periods of time, and currently consists of co-founding sisters Naoko and Atsuko Yamano (guitar / vocals and bass / vocals respectively) and singing drummer Risa Kawano, who’s been with the band since 2015. This stability is likely one of the key factors in their tightness as a unit: the songs may not be especially complex, but their played really well – to the extent that it stands out. What also stands out is just how much they look to be enjoying themselves: they smile a lot, and Kawano in particular beams throughout the set, like she’s having the absolute time of her life on every swing of a stick. And that joy is infectious.

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Shonen Knife

For the uninitiated, Shonen Knife sound like a Japanese female Ramones experiencing a massive sugar rush. Their songs are perfect pop, and revel in the pleasures of ice cream, candy, and cookie dough. They’re the musical equivalent of kawaii drawing, and their stage show is in keeping with this. It’s not just the outfits, but the spangle guitars, the way the harmonies come together, the way the jumps aren’t jumps so much as bunny hops. Yet none of it feels trite or contrived, and it’s never cloying. It’s simply good, clean fun. A couple of times, I find myself thinking of Dogtanian and the Three Muskehounds – and it’s theme tune, that hyperpop energy the likes of which I had never heard before at the time.

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Shonen Knife

For an hour and a half, I find myself uplifted to a point that I am simply bursting with joy. While they play, everyone is in the moment, transported away from everything: the room is filled with happiness which celebrates simple joys. It’s pure escapism, and absolutely wonderful.

Various – Marc Urselli’s Ramones Redux + Best of Redux

Posted: 5 June 2025 in Albums, Reviews
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Magnetic Eye Records / Redux Records – 6th June 2025

Christopher Nosnibor

Magnetic Eye have released a few of these ‘Redux’ tribute albums now, each of which has come in two editions, and each of which has taken a different approach. Whereas the Meantime Helmet releases offered a standard and expanded version, for example, others have presented an album on one version and a ‘best of’ as a companion. And in all instances, they’ve managed to score some outstanding names as contributors. This time around, it’s the Ramones’ eponymous debut which is accompanied by a ‘best of’ set as a counterpart, and the project was ‘masterminded and curated by New York City and London-based Italian-Swiss audio engineer, sound designer, composer, multi-instrumentalist, and Grammy winner Marc Urselli’ – hence the titles.

Mondo Generator, Napalm Death, Ufomammut, Arthur Brown, David J, and Voivod are among the big-hitters featured here, but as I settle down with a cold pint of Oranjeboom, I contemplate the need for a Ramones tribute – or, more specifically, another one. There have been a few, perhaps most famously 2003’s We’re a Happy Family, which featured The Red Hot Chilli Peppers, Marilyn Manson, Green Day, Garbage, U2, Metallica, and The Pretenders, among others, and there are so many tribute acts out there, too, one has to ask ‘is this not overkill?’ Well, no, because that would be Motörhead, and what’s more, with a lower tier of ‘name’ contributors, it feels more authentic, somehow. I’m not saying U2 aren’t fans of The Ramones, but they feel like they’re on a par with the fans who bought a T-shirt in Primark and only discovered they were a band after the fact. Casuals, in other words.

Some might say that the debut album doubles as a ‘best of’, and there’s a case for that, given that every single song is a pure classic. Mondo Generator kick off the debut album covers set with a roaring ‘ONETWOTHREEFOUR’ before launching into ‘Blitzkreig Bop’, and it’s a faithful but fiery, fizzy rendition, the guitars like jet engines on what you could only describe as a proper punk blast.

Daníel Hjálmtýsson and Mortiis offer an altogether different take on ‘Beat on the Brat’ – slowed down, moody, gothic, a bit theatrical, a shade menacing, and yet somehow accentuating the pop currents which flow through this, and indeed, all Ramones songs. Boots Electric, with the help of none other than Wayne Kramer, push the pop to the forefront

Ufomammut bring the metal and convert the sub-two-minute surf-pop ‘Chain Saw’ into a six and-a-half minute grind that’s downtuned, dense, and dirty. It’s also absolutely brilliant in its execution. Napalm Death have enlisted Thurston Moore for their take on ‘Now I Wanna Sniff Some Glue’, which is a minute and a half of speaker-shredding thrash nihilism, and absolutely perfect.

The Ramones weren’t only punk progenitors, but purveyors of precise and often perfect pop songs, and this pair of albums represents the fullness of their influence (still not saying they. didn’t influence RHCP or U2., but…) Arthur Brown and The Berserker’s take on ‘I Don’t Wanna Walk Around With You’ is crazy, and absolutely perfect.

Voivod rope in JG Thirlwell for their hell-for-leather yet hooky as hell take on ‘Zero Zero UFO’ which opens the ‘best of’ set. And there are some corkers, with a slowed-down, heavy psyche yet oh-so-pop take on ‘Pet Sematary’ by Impostor Cult with Amy Tung Barry Smith being exemplary. So Hideous’ twangin’ take on ‘The KKK Took My Baby Away’ is one of the most radically different interpretations on the album, although Kayo Dot and Ihsahn push ‘Teenage Lobotomy’ in the most unexpected directions, while David J and Paul Wallfisch push ‘I Wanna Be Sedated’ to a soporific seven minutes. With a super-sparse arrangement, it sounds as if they’ve achieved their wish before entering the studio.

What these two albums illustrate, more than anything, is that The Ramones wrote superlative and truly classic songs, with earworms galore. And as tributes go, these albums do feel perfectly fitting.

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Listen: ‘Phone Call’ by Death Pill

Posted: 21 May 2025 in Recommended Streams and Videos, Singles and EPs
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Two years on from their sensational debut, Ukrainian ‘Riot Grrrls’ Mariana, Anastasiia and Nataliia, aka Death Pill recently announced that they are back. Locked and loaded with a mighty set of tunes on their highly anticipated second album SOLOGAMY, which is … as they put it. ‘A bold exploration of personal empowerment’.

SOLOGAMY is fierce, heavy and melodic, and is set to land on June 20th, 2025 (New Heavy Sounds). New single ‘Phone Call’ is probably the most accessible Death Pill track to date. Very catchy, with a terrific arrangement, cleverly put together, it’s a brilliant slice of … well … pop.  You might call it ‘pissed off pop’ something Green Day or Foo Fighters wished they’d written … a new genre if ever there was one. The band comment,

"This song is just a real sad love story when no one calls you back. 

When you are waiting for a call from someone you care about, time starts to drag. Every minute feels like an hour, every moment feels like an eternity, and every sound of the phone makes your heart freeze. You check it several times, even though you know the phone is on silent mode. Thoughts fill your mind, “What if he forgot?”, “What if he doesn’t want to talk?”, “What if he has someone else?”.  

These doubts and fears turn into a real game of mind, where you become your own harshest critic. The agony of waiting can be overwhelming. You begin to notice how it affects your daily life: you can’t concentrate at work, you get distracted when talking to your friends, and even simple pleasures seem less significant. Thoughts about the call become annoying, like a fly that won’t leave you alone.  

Every time the phone vibrates or the screen lights up, you hope to see his name, but disappointment comes again and again. Waiting for a phone call is a fragile emotional state that touches the deepest corners of the soul. It requires patience and humility, but it can also teach us to appreciate the moments when the connection does happen. When the long-awaited call finally rings, all the suffering seems worth it – if only for a moment. That moment can be so sweet that all previous agony is forgotten. Waiting for a call is not just an emotional roller coaster; it is a reflection of our vulnerability and desire to be understood. The desire to be needed by someone.

We are opening our hearts, hoping that someone else is also willing to share the journey with us."

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