Norwegian hardcore/noise-rock innovators Hammok have just released the video for their latest track, ‘One Minute.’ Known for their explosive energy and genre-pushing sound, Hammok takes a step in a different direction with this release, offering a moment of calm after the storm that was their debut album, Look How Long Lasting Everything Is Moving Forward For Once.
‘One Minute’ is a collection of thoughts, feelings, and observations from the past two years of traveling and playing shows. Written early in the process of creating Long Lasting, the song didn’t quite fit with the rest of the album but always felt like it deserved to be heard. Now, presented in isolation, this track stands as the odd one out—an introspective piece devoid of screams, offering a different side of Hammok’s musical journey.
The band comments: “The calm after the storm that was Long Lasting. This is one of those songs that just slips out of you when you least expect it. While writing the Long Lasting album this song was finished early in the process but never really fit the album but there was always a feeling the song deserved to be put out for people to hear. The song is a collection of thoughts, feelings and observations throughout traveling and playing shows the past two years. Both the good and the bad. So here it is, presented in isolation, the odd one out. NO SCREAMS THIS TIME!!!!!!!!”
Dallas Kent might sound like a fictional cowboy, or possibly a made-up American town in a made-up state, but it’s actually the name bestowed upon the collaboration between London-based composer/producer Ian Williams (originally from Canterbury, Kent) and singer Crystal Brown (from Dallas, Texas). In that context, the moniker makes sense, of course.
As their bio explains, ‘It started in the late 2010s when Williams was looking for a singer to work with on some of his dark electronic pop songs, with Brown happening to live one street away from his studio in Hackney, East London… They swiftly recorded a considerable amount of material, but had to shelve the project when Brown relocated to the USA. The duo continued to discuss their options until finally, with Crystal settled in San Francisco and the pandemic giving everyone time to pause their normal lives, they decided to complete what they had begun so many years before.’
There’s no question that the pandemic changed a lot, if not, in some ways, everything. While many suffered with extreme alienation and the traumas of isolation and separation, it also forced a realisation of what was achievable, creatively, despite separation, and proved that the idea that ‘distance is no object’, which had long been embedded within the channels opened by The Internet was not merely a concept, but something which was more than simply a conceptual matter.
I suppose I realised this around the turn of the millennium, when I experienced something akin to a lockdown situation of sorts, albeit for very different reasons. I had relocated to Glasgow around Easter 2000 under difficult personal circumstances. I didn’t really know anyone. I was yet to make friends in my new job there. And I was so fucking broke I could barely afford to eat – a situation not particularly conducive to socialising and building new friendships. A friend I had known in York, who had subsequently moved to Sheffield, introduced me to Hole’s chatroom, and, stuck at home and unable to sleep, I found myself spending my nights online chatting to people from around the world at all hours, at least until, with dial-up Internet costing a penning a minute, I racked up a phone bill I couldn’t pay, and had my phone cut off. Then along came MySpace, and again, the possibilities for communication and collaboration across continents were immediately apparent. People who missed the age of the chatroom and MySpace were perhaps less predisposed to these potentialities, and consequently, the pandemic lockdowns hit them harder: they had to learn these things anew.
Anyway. This single entitled ‘Ghost Highway’, which, their bio tells us, ‘is redolent of Massive Attack and Ennio Morricone’ is the first fruits of their collaboration, ahead of ‘a full album that promises to be a mash-up of cinematic downtempo sounds, Americana, French disco and anything else they can throw into the mix.’
‘Ghost Higheway’ is very much a spacious trip-hop-influenced piece, with haunting vocals and a thick, dubby bass rolling low under a slow, deliberate, nod-along beat. Its magnificence lies in its sparse simplicity, and the fact it’s over almost as soon as it begins, and you find yourself yearning to delve deeper, to keep moving into this atmospheric world they’re presenting… it’s like the opening pages of mysterious, mystical novel, drawing you in and then…
The accompanying video is similarly compelling but without resolution: they describe it as ‘David Lynch-ian’ and explain how it was ‘filmed by Brown on her phone before being edited as psychedelically as possible by Williams.’
That they’ve kept this all in -house and simple and delivered something so compelling, so strong, is testament to their imagination and capacity for innovation, proving just how much can be achieved with minimal tech and over distance, given the drive and determination.
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DALLAS KENT | Crystal Brown (photo by Ian Williams) & Ian Williams (photo by Damien de Blinkk)
For those unfamiliar with ShitNoise, their bio describes them as ‘a noise punk band hailing from Monte-Carlo (Monaco). Formed in February 2022, the band has undergone several lineup changes. Currently, it consists of Aleksejs Macions on vocals and guitar, Vova Dictor on guitar, and Paul Albouy on drums.’ What’s more, they reckon their third album, I Cocked My Gun And Shot My Best Friend, ‘showcases their most energetic and mature work to date… Departing from their previous noise-centric style, the band blends grungy guitar riffs, metal-influenced double-kick drums, and a more polished production. The album explores themes of confronting the harsh realities of society and the lasting psychological impact of traumatic events. Through gritty soundscapes and stream-of-consciousness lyrics, it paints a raw portrait of present-day existence and the enduring human spirit in the face of adversity.’
I’m often wary of bands and artists who claim to have matured: all too often it means they’ve gone boring, that they’ve lost their fire and whatever rawness, naivete, edge, that made them stand out, drove them to make music in the first place. But these things are relative, and ShitNoise isn’t just a gimmicky moniker, but a fair summary of what they do. Here, they’ve stepped up from no-fi racket to lo-fi racket and evolved from the trashy punk din with dancey and electronic elements that at times sounded like a Girls Against Boys rehearsal recorded on a Dictaphone, toward a more wide-ranging and experimental approach to noisemaking. As for the album’s title… well. Was the act an accident, one of stupidity, gross negligence, or intentional? Either way, as the adage goes, with friends like these… ShitNoise are certainly not the friend of sensitive sensibilities, or eardrums.
So sure, they’ve ‘matured’ inasmuch as they’ve broadened their palette, but in doing so, they’ve discovered new ways of creating sonic torture.
‘Ho-Ho! (No More)’ launches the album with shards of shrill feedback and distortion: it’s two and a quarter minutes of nails-down-a-blackboard tinnitus-inducing frequencies and deranged yelping that’s somewhat reminiscent of early Whitehouse, minus the S&M / serial killer shit. Not that I have a fucking clue what they are on about, and the noise is so mangled it’s impossible to differentiate any of the sound sources from one another – guitars sound like screaming synths, and there’s so much dirty mess in the mix everything sounds so broken you begin to wonder if your speakers are knackered.
Proving just how much they’ve ‘matured’, ‘Brown Morning’ barrels into churning noise driven by thunderous beats as the backdrop to a rappy / spoken word piece, after which the arrival of the fairly straightforward punk tune ‘Gum Opera’ feels like not only light relief, but somewhat incongruous. But then, in the world of ShitNoise, anything goes, as long as it’s noisy shit. And keeping on with the noisy shit, there’s the gnarly Jesus Lizard meets Melvins gone rockabilly slugging sludgepunkfest of the oxymoronic ‘Pleasant Guff’ to go at, and it’s abundantly clear that they’re absolutely revelling in following their curiosity in every direction when it comes to exploring any and all avenues of racketmongering. I Cocked My Gun is wild, and wildly divergent, stupid, chaotic, and fun.
If the off-kilter grunge of ‘X-Ray Phantom’, with its incidental piano tinkling along behind crunchy guitars hints at something approaching a kind of sensitivity – and a closet ability to write songs – ‘Endless Void’ demonstrates their capacity to step back from noise completely, and venture into near-ambient territories, and with remarkable dexterity.
But mostly, these deviances only serve to bolster the impact of the manic racketmaking which dominates the album, which brings us to the epic penultimate track, ‘Hashish (The Yelling Song)’ – a ball-busting seven-and-a-half-minute stoner-doom slammer that slaloms its way through some heavy drone and some explosive psychotic episodes… and we’re immensely proud to be able to present an exclusive premier of the video which accompanies this mammoth slab of sonic derangement right here:
Get it in your lugs. Let it permeate every cell. Bask in the insanity. With I Cocked My Gun And Shot My Best Friend, ShitNoise have really gone out on a limb, and while teetering on a precipice of madness, have proved that artistic fulfilment lies on the other side of mania. It’s a far more enjoyable place than the everyday in which we find ourselves of late, so why not dive on in?
Portugal’s heavy hitters, Vaneno, have returned with a vengeance, unveiling the video for ‘Necropotent,’ the first single from their highly anticipated new album, Chaos, Hostility, Murder. This track marks the band’s first release since their 2020 offering, Struggle Through Absurdity, and it’s nastier, louder, heavier, and darker than anything they’ve done before.
“‘Necropotent’ is a caustic and maddening vision of a world that intertwines with our own. We all know who you are. The real necro lords who thrive in misery, pestilence, and chaos, forever feeding the abyss with the eternal rest of the fallen.” Says the band. This powerful and unsettling message is matched by the song’s crushing riffs and relentless rhythms, delivering an intense auditory experience that will leave listeners reeling.
Watch the video here:
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The upcoming album, Chaos, Hostility, Murder, was mixed and mastered by Pedro Mau at SinWav Audio, who also worked on the band’s debut EP. The album is set to be released through Raging Planet Records, further solidifying Vaneno’s place as one of the most promising Portuguese metal bands of today.
Vaneno’s journey began in 2017 when three friends — Miguel Nunes (drums), Eduardo Cunha (guitar), and António Tavares (guitar) — started jamming together, laying the foundation for what would become their distinct sludge-infused sound. By late 2019, the band expanded to a five-piece with the addition of Pedro Fernandes on bass and Alexandre Fernandes on vocals, marking a turning point in their commitment to bringing their music to the masses.
Since then, the band has undergone a lineup change, with Eduardo Cunha stepping down and Felipe Peraboa taking over on guitar.
Their previous release, Struggle Through Absurdity, showcased four powerful tracks that blend sludge, stoner, and death metal influences, creating an aggressive sound full of heavy, muscular riffs and pummeling rhythms. Vaneno’s raw, unrelenting style continues to evolve, and Chaos, Hostility, Murder promises to take their music to even greater heights.
‘The Witness’ is the first video released from Love Spells , the debut album from Death Doula, a dusky Art-Rock band hailing from Portland, Oregon. The new album was recorded at Jackpot Studios by Adam Lee (Built to Spill, Sleater-Kinney) and mixed by Bob Cheek, (Deftones, Band of Horses). It’s being released as a digital download and via streaming platforms by Death Doula Records on October 11.
Check the video here:
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Kerry Jones had a crush on his best friend. Kyle List didn’t mind, he asked her to come collaborate at his tiny home studio anyway. By the end of the night, they were in love and had created a demo of ‘Disembark’, which would be lead single from Love Spells. Three weeks later, he moved to Portland to live with her, with no plan beyond an intuition that the music would take them somewhere.
Fast forwarding two years later, they recruited the veteran rhythm section of Keith Vidal on bass (Marjorie Faire, Nyles Lannon) and Adam Kozie on drums (Pollens, Crystal Beth) and adopted the name Death Doula. The music they’ve created shows their shared love of artists like Can, Television, Jeff Buckley, The Cranberries, Deerhunter, Kate Bush, The Sundays and Deftones, while remaining altogether sonically new.
After having their lives dramatically reshaped during the pandemic, the members of Death Doula approach music with an intensity that can only come from having spent a lifetime wanting it. Kerry and Kyle have an 11 year age difference. Keith and Kyle have a 22 year age difference. Each member pours their lifetime of experience into performances that place emotion and groove first.
“In a world so algorithmized it’s numb,” says Kerry “we just want to make people feel something again.”
RAT LORD, the Norwegian trio known for their ferocious energy and tongue-in-cheek approach, is back with a brand-new single, ‘Now Diabetical’.
“If you dig the idea of grindcore and powerviolence while poking fun at black metal, Rat Lord is gonna be your new favorite band,” says Decibel scribe Addison Herron-Wheeler about this unorthodox Norwegian act.
Following the success of their debut album This Is Not A Record, Rat Lord returns with the brilliantly titled Blazed In The Northern Sky. The band—comprising guitarist/vocalist Yngve Andersen, drummer Sigurd Haakaas (both from Blood Command), and bassist Martine Green—continues to push boundaries with their unique blend of powerviolence and grindcore.
The full album is set to drop on August 30th via Loyal Blood Records, but you can get an early taste of the chaos with the new track ‘Now Diabetical’ here:
The band comments: “‘Now Diabetical’ is a song about eating healthy, so you don’t catch diabetes type 2, which is a big problem for some. The title may or may not be making fun of Satyricon’s ‘Now Diabolical.’”
The follow-up to the band’s 2022 debut album This Is Not A Record, sees RAT LORD churning out the same gritty and destructive powerviolence/grind sound that received strong praise from various publications along their humorous lyrical content, this time parodying some of the most famous songs and events from the Norwegian Black Metal history, the album title for instance clearly nods at Darkthrone’s A Blaze in the Northern Sky.
Renowned singer, musician, activist, and cultural icon Mari Boine shares her newest single, ‘Lean dás’. This captivating track is a unique collaboration with Norwegian-Sámi band ISÁK & the band’s vocalist Ella Marie. The artists bring their rich musical backgrounds to the track, infusing it with a profound sense of authenticity and passion. The track is taken from Mari’s full-length Alva, scheduled for release on the 6th of September 2024 via By Norse Music.
Mari shares her insights on the new single:"It can be difficult to maintain hope in these dark times, but to surrender hope is to lose our will to action, to render ourselves powerless. One reason I love "Lean dás (I Am Always Here)" is because it shines with hope. In this duet with my dear friend Ella Marie, we joik (summon) the Universal Mother, Divine Source, Giver of Life, Creative Force."
Ella Marie from ISÁK comments: "It truly is a dream come true to be featured on Mari’s new album. I have listened to her music as long as I can remember, and she is the greatest role model I have ever had. To now call her my friend and collaborator feels very special, and me and the rest of the band ISÁK are so honored that she wanted to merge her own song with our song, "Mun Lean dás", for this unique release. Singing it in the studio with Mari present was not only a magical experience, but also a master class in how she conveys emotions through her art. I am truly grateful for this experience."
Check it here:
Mari Boine Live 2024 and 2025 15-08 Bodø – Torsdag i Parken [tickets] 12-09 Elverum – Elverum Kulturhus SOLD OUT 14-09 Jessheim – Ullensaker kulturhus SOLD OUT 20-09 Kristiansund – Kulturfabrikken [tickets] 21-09 Sunndalsøra – Sunndalsøra Kulturhus [tickets] 22-09 Molde – Bjornsonhuset [tickets] 26-09 Førde – Førdehuset [tickets] 27-09 Sandane – Trivselshagen [tickets] 28-09 Geiranger – Festspela [tickets] 03-10 Sandnes – Sandnes Kulturhus [tickets] 04-10 Bryne – Storstova [tickets] 10-10 Strand – Kino [tickets] 11-10 Suldal – Kulturhuset i Suldal [tickets] 12-10 Sauda – Sauda Kulturhus [tickets] 20-10 Oslo – Den Norske Opera & Ballett SOLD OUT 01-11 Mandal – Buen Kulturhus [tickets] 02-11 Asker – Asker kulturhus SOLD OUT 03-11 Larvik – Bølgen Kulturhus [tickets] 08-11 Steinkjer – Hilmarfestivalen [tickets] 09-11 Oppdal – Oppdal Kulturhus [tickets] 15-11 Zürch, Switzerland – Volkshaus [tickets] 20-11 Kongsvinger – Radhus-Teatret [tickets] 21-11 Lier – Lier kulturscene [tickets] 22-11 Moss – Verket Scene [tickets]
San Diego-based alternative rockers Los Saints have released a new visualizer for the single ‘Hard’ off their recently released debut album Certified, out now ENCI Records.
Watch the video here:
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Art opens a window into the soul. It doubles as a haven for all of our most intimate thoughts, desires, and emotions. Like splashing paint on a canvas, Los Saints pour all of their experiences and feelings into a vibrant mosaic of indie, alternative, and rock. They piece together memories and mantras in the form of gauzy melodies, fuzzy guitars, and dusty rhythmic grooves. Co-founded by cousins Angel Mariscal [vocals, guitar] and Emiliano Garcia [drums], as well as mutual friend Gianluca Exposito [guitar], who has since parted ways with the band, the group have quietly buzzed out of the sleepy border town of Chula Vista, CA with sold out shows and acclaim from the likes of San Diego Union Tribune, Remezcla, Alternative Press, and more.
Now, Los Saints sharpen their distinct and dynamic signature style on their full-length debut LP, Certified.
“Los Saints isn’t just a band for me,” proclaims Angel. “It’s everything. It’s all I can do. That goes for the other guys too. The more we know ourselves, the more we know what our band is and are able to define our sound. Certified is who we are not just as musicians, but as people.”
Growing up in a Mexican-American family, he immersed himself in music. His mom hailed from Tijuana, and his dad grew up in the United States. Classic rap boomed through the house as he eventually gravitated towards Mac Miller and his “lifelong biggest influence” Cage The Elephant. In 2019, he formed Los Saints with Emiliano, envisioning “music almost everyone from any background can vibe with.”
In honor of their heritage, the group chose the moniker Los Saints.
“We were thinking of the Day of the Dead in Mexico, and its primary representation is a skull,” he goes on. “We needed to make it our own, so we turned it into ‘Spanglish’ by choosing ‘Los Saints’. Like the music, it’s a mixture.”
Los Saints initially gained traction with the Welcome To Confusion EP in 2022. The Honey Pop christened them “your next indie obsession,” while San Diego Union Tribune pondered, “Could Los Saints be Chula Vista’s version of Cage the Elephant?” Building on this momentum, the three-piece hit the studio with producer Keith Cooper (Dear Boy) and brought ‘Certified’ to life during sessions at Wildflower Recordings in L.A. The first single and opener “Faded” hinges on a bold bass line and a punchy drum groove. Guitars glow beneath a hazy and hypnotic vocal plea, “I don’t want you to look at me when you’re faded?”
On “Never Said,” a loose chime-y riff pierces a disco-style beat as falsetto rings out on the refrain.
“I’m not a dating app kind of dude,” he admits. “I’m a cave dweller, but I think so many kids my age can identify with these experiences of modern dating. On the first half of the song, you’re going into online dating with genuine intentions and looking for something true. The second half is the aftermath where reality hits, and your view changes. You realize all that glitters isn’t gold.”
Evocative of yet another dynamic, glitchy keys wrap around breezy acoustic guitar on the somberly nostalgic “If Everything Goes.” He sighs, “Don’t call me back, even though I’d like you to.”
“I was beating myself up for the way I am and how it affects romantic relationships,” he continues. “This person left your life, but you can’t help but blame yourself. Even though it was going to happen either way, you just think you’re the problem.”
Elsewhere, “Doctor” conjures “dark imagery of being interrogated like in a movie” via breathy lyrics and an off-kilter soundscape. Then, there’s “Hard.” Raw emotion seeps through the cracks in the vocals as thick distortion buoys the hook, “Help me see again who you are.”
“It’s about how being in a toxic situation—either romantically or with friends—has affected me and brought me down,” he states.
The title track culminates on a chantable chorus awash in shoegaze distortion. Stretching to a soaring climax, it evokes the feeling of “being isolated because you’re in a relationship that your friends and family don’t approve of.”
In the end, Los Saints bring the kind of emotion that bonds us together to the surface.
“When you listen to us, I hope you find our art to be a place of comfort,” Mariscal leaves off. “Sometimes, I cry when I write. I’m always trying to come up with songs you can connect to so you don’t feel alone. The world is a tough place. We can be friends one way or another.”
I tend to give releases a wide berth if there’s anything that could be construed as iffy about them or the artist or anyone else involved, not because I’m fearful of controversy, but simply feel it better not to provide a platform. Of course, some will argue that silence is tantamount to complicity – and I’m painfully aware of the extent to which that it’s true that many bad things happen while no-one speaks out. But I like to think that overall, my positions on matters of politics and beyond are fairly obvious on account of what I do cover, and some of the discussions around them, and I’m not about to virtue-signal with a list of releases by abusers and shady shits which have landed in my inbox to be immediately deleted.
But this one stood out. I sift through emails and divide them into ‘yes’, ‘no’, ‘maybe’ for review, and have a separate flow for those that I’ll likely not have time or energy to review, but might be posting as a stream.
I’d never heard of Nachtmystium, but was intrigued to learn that they were back, although the tone of the press release struck me as a little different, more muted, perhaps: ‘…after all that was said and done, mastermind Blake Judd aka Azentrius is still standing. Not only that, but Judd has clawed himself back from the abyss of a most extreme life imaginable to a much more quiet, observant, and matured artist and person… His return will not be met with universal applause – even from the black metal scene. For anybody following the tumultuous career of Blake Judd and his pioneering band that has pushed the borders of their genre into new territories, this comes hardly as a surprise.’
But the video… on first play, I figured it was perhaps a Day Today or Brasseye type spoof, or that Nachtmystium was the Bad News or Spinal Tap of Black Metal. But no. Comparatively cursory research reveals Blake Judd’s long history of junkiedom, thieving, scamming, fraud, and unpaid bills, not to mention connections to the National Socialist Black Metal scene – something Judd is on record as renouncing and denying direct involvement with, but saying ‘We don’t oppose people’s right to be ‘NS’ or whatever… Even though I personally, my band(s) and my label have absolutely no interest in being a part of that scene, I will ALWAYS take their side when it comes to their freedom of speech being imposed upon.”
Freedom of speech has become a battle ground like no other in recent years , and thanks to social media, it’s a debate that’s taken the ugliest, most divisive of shapes, largely splitting along lines of left and right, with the left calling out fascists and twats, with the right calling the left fascists and twats for wanting to suppress their right to be fascists and twats. But, just as opposing Antifa is, effectively to align oneself as being Profa, to say ‘hey, free speech, it’s their right to be nazis’ is not only spineless, but a tacit statement in support of the nazis, even if it’s one born out of ignorance of just how much harm their ‘free speech’ can cause – and I find it hard to believe any adult could truly be that ignorant nowadays.
So, to return to the video… it contains some stills of the man himself, treated with grainy effects overlayed, with some lyrics flashed up, flickering, as the main focus of the visuals to what is, in real terms, some pretty standard black metal. But throughout, presented as ‘cuttings’, snippets of comments from social media and various other sources, essentially decrying what a deplorable scumbag he is.
It seems perverse that while he’s growling about ‘the return of a rightful might’, there are comments to the effect of ‘fuck this guy’ and ‘he owes me so much money’ to ‘good luck, Prophecy’. And against snippets reporting on his jail time and drug addiction, he snarls ‘No remorse, no remorse’.
Prophecy is a label which has released countless fantastic acts, and continues to do so, but I can’t help but feel that this is something of a mis-step – not even releasing new work by Nachtmystium, necessarily, but the pitch may be rather misjudged. These aren’t a few ‘oops’ moments – which should be approached apologetically even if they were – but to market the release in a way which celebrates all of this? Even if intended humorously – which there’s nothing to indicate that it is – it’s not very funny for the victims of his wrongdoings. And yes, they are victims, however desperate his drug plight or whatever at the time.
Musically, ‘Predator Phoenix’ is fine, and although the title seems both dubious and self-aggrandising, it’s par for the course in black metal. But the way this comeback is being heralded… not cool, man, not cool.
Released on Monday (29 July 2024) ‘Please Reply’ is the third promo single release from UK “synth and darkwave firebrands” 404 Error, taken from their debut album, Scene Killers. Hailing from Newcastle upon Tyne in Northern England, 404 Error is the semi-anonymous project of an artist known as 36663. ‘Please Reply’ meanwhile features an animated black and white lyric video, by someone credited only as Arif.
Known for sharp social commentary and provocative takes on goth scene politics, Please Reply is a pastiche drawn largely from the cesspool of unsolicited messages. Drawing from the biting social satire of Fad Gadget and Heaven 17, the lyrics sketch a man in his mancave, desperate and crude, yearning to be a woman’s submissive partner. His attempts to get her attention are filled with insincere promises and disrespect. He calls himself a nice guy, but his focus is selfish, driven by his own needs and desires, completely ignoring her boundaries or interests.
Watch the video here:
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“I think it’s terrible that women get messages like these. And I know many receive much worse, but I didn’t want to make the song too vulgar. I know a lot of women, especially goth women, who get strange guys addressing them as Mistress, or wanting to be their slave – even if there’s nothing they’ve said or done to signify that they’re even into fetish/BDSM. Some have had open propositions for pictures of their feet. And of course, many of these guys also try to guilt trip, hence the line “It’s so hard for men like me, nice guys just want a chance”. As if there’s anything ‘nice’ about propositioning a stranger.”
“I find it hard to say whether I even wrote this song, or if the lyrics are just the contents of far too many inboxes.”
The digital single on Bandcamp includes two bonus “virtual B-side” tracks: ‘Hawk Tuah’, and a cover of ‘Chop Suey’ by System of a Down.
“Hawk Tuah was a bit of fun that I didn’t know if I’d release. The problem with viral memes is they become old very quickly. But given the person in question is currently living her best life getting paid big money for club and TV appearances, I’d say people are still interested. Gosh knows how many messages she’s had from ‘Please Reply’ guys.”
‘Chop Suey’ meanwhile continues 404 Error’s tradition of rendering nu-metal covers barely recognisable (albeit, arguably more intelligible than the originals): a pattern established with a rendition of Slipknot’s ‘Wait and Bleed’, included with the debut single ‘ETHAL’. And where ‘ETHAL’ featured a guest vocalist known as J.A.N.E., ‘Chop Suey’ features vocals by one MXVC.
Aural Aggravation 