Dave Gahan and Soulsavers – Angels and Ghosts Review

tumblr_inline_nug2q2oqG31qa79vw_500Hold the phone, what is this? Thirty eight minutes of awesomeness, that’s what. Suspend whatever preconceptions you might have, turn off the lights, close your eyes and let your imagination ride, because Dave Gahan and Soulsavers have come up with one of the most incredible records of the year. Forget Depeche Mode and think Nick Cave; here is a collection of beautifully constructed songs that play like a soundtrack to life.

The epic gospel feel of ‘Shine’ kicks things off with a slow burning spaghetti western style riff; there’s a big sound but its got a lot of space, the quiet moments actually increasing the impact of the individual elements. ‘You owe me’ follows, punctuating the soundtrack feel with its expansive guitar, conjuring up images of wide open landscapes in middle America. Dave’s voice is as strong as ever, but understated and brooding, though he opens up towards the end, the female backing providing an interesting balance.

There is an awful lot happening on this record with layers of hammond organ, orchestrated elements and the occasional horn section adding a massiveness to the sound that works beautifully, nowhere more so than on the sublime ‘Tempted’. The spacious atmospheric guitar and laid back groove, underpinned by some lovely organ work, make room for a nice hook; there is just the right amount of hurt in Dave’s voice, he doesn’t need to blow a gasket to hold the emotion as the track slow boils to a simmering climax. Superb.

‘All of This and Nothing’ is similarly atmospheric but more up-tempo, while the slow grinding ‘Don’t Cry’ offers up a rockier vocal and a harder edge; both are good tracks but there is something special sandwiched between. ‘One Thing’ is a dark piano ballad that is beautifully melancholy. It is deeply evocative, like everything feels wrong, the lack of percussion and insistent piano giving a sense of disquiet that offers up all kinds of images; like arriving home to an empty house that was once full of life, or hearing a familiar voice to look up and find you were mistaken – incredible.

‘Lately’ is also piano based and is also quite lovely, while ‘The Last Time’ picks up from ‘You Owe Me’ in terms of sound, like there’s a thread running through the record. Album closer ‘My Sun’ ties things up nicely though, incorporating all the elements wonderfully. Dave’s vocal is superb, the piano melancholic, the guitar strum wide open and it broods slowly to a defiantly understated climax on the back of subtle orchestration, organ and brass.

All in all ‘Angels and Ghosts’ is a wonderfully produced record of expansively evocative tracks of spectacular depth and texture. Dave’s rich baritone is solid throughout, adding darkness to the soundtrack vibe of the multi-layered instrumentation. There’s barely a hint of filler on the record and in ‘Tempted’ (with just the slightest echo of Depeche Mode) you get one of the best songs I’ve heard this year. Excellent stuff.





The British Ibm – Interview

Recently, I had the pleasure of stumbling across, and subsequently reviewing, the delightful slice of folk tinged indie rock that is the British Ibm. Their second album, ‘Psychopaths Dream in Black and White’ is a highly enjoyable, soothing collection of richly textured tracks, with swathes of lilting cello that compliment the comfortable melancholy of Aidy Killens thoughtful songwriting. As I’ve had the album on heavy rotation since before its official release, it makes for a lovely chilled listen after a big day, I decided to hit Aidy up for an interview and he has been good enough to answer a few questions about the band, the album and future plans; here’s what we talked about.

So, how’s the album doing, are you happy with the reception so far?
Really well, it’s got some decent reviews and feedback and even some radio play in the US. Also, one of the tracks is being used in the new trailer for ‘From Bedrooms to Billions: The Amiga Years’, which is cool, as they used the title track from the previous album on their first ‘Bedrooms to Billions’ film (see below).

‘Psychopaths Dream in Black and White’ seems like an unusual title for such a laid back record, what was the thinking behind it?
I came up with the idea for an album about psychopaths quite a while ago and wanted to create something conceptual that told the story of a psychopath and how his lack of empathy was more of an asset than than a hindrance. It was influenced by stuff like ‘Kill Your Friends’ by John Niven. The title of the album comes from the book ‘The Psychopath Test’.

For me the use of the cello on a number of the tracks adds a real depth, how was it that Anna Scott came to be involved?
Anna’s awesome and probably my favorite bit of the recording session because you get to just sit around and listen to her play. She’s also just the right mix of indie-savvy (if that’s a word) and classically trained. So you don’t need everything written out in perfect musical notation; she can adapt and change to the songs as they progress in the session.
I got to know about her via the local scene and she played with other bands we knew like Eureka Stockade. She played on the last album too and did an equally awesome job on that too.

Did she contribute to the composition or had you already worked out the orchestrated parts?
I already had the majority of the string parts composed on the original demo tracks using synth strings, which she replicated. But she did ad-lib on a couple of bits. The middle eight on ‘We Were the Stars’ and also ‘I’m Just Like You’.

Does she/Will she ever join you live?
She joined us once live for a radio session with Q Radio. You can download the session from the shareware section of our site for free. http://www.thebritishibm.com

How much of a team effort is British Ibm?
It’s mainly me to be honest, I write all the songs and manage all the day to day stuff and then teach the songs to Dave and Paul for the live shows. Both of them are pretty busy with their own projects too. Paul plays in multiple bands and also acts and writes. Dave plays in a few bands too and recently started his own band called Taken With The Tides.

You seem to be a very prolific song writer, is there already another project in the pipeline?
Always! I make video games in my spare time with a friend under the name Gimpy Software and we’re working on the mobile version of a game we released on Xbox 360 a while ago. It’s called ‘Lunar Panda’, and we’re also working on a sequel to our other mobile game ‘Gimpy Bomber’. So I’ll be doing all the music for those. I’ve also got some ideas and demos for the next British IBM album, which has the working title of ‘Where is Matthew Smith?’.

I realize that there is this relationship between gaming and music, but I wanted to know more about your musical and songwriting influences…
I was a bit obsessed with REM growing up and their stuff from the IRS years. Although one of my favorite REM albums is ‘New Adventures in Hifi’, which influenced at least one track off this album. As well as REM though, I listen to a lot of music and a lot of different stuff, though probably 80% of what I listen to is within the genre of indie rock. I guess all that kind of bleeds into my songwriting in some way or another.

I’ve recently interviewed some bands about the difficulties of the UK music scene, what’s your view on the current musical climate?
Bands and artists always seem to have a tendency to blame their local music scene for all sorts of reasons and I think it’s the same the world over for bands and artists at our level. I played some gigs in Vegas last year with 8 Bit Weapon who are from LA and we were chatting about our local scenes and seemed to have a lot of the same grievances, despite being an ocean apart.
Although at a higher level there are definitely some things that wind me up such as the growing popularity and enablers of shows like X Factor and The Voice and how prominent these reality shows have become in our culture. For such a small country the UK is probably the largest exporter in the world for music; a lot of the biggest bands have come out of this country such as the Beatles, Rolling Stones, Pink Floyd, Gorillaz, Prodigy, Oasis etc.. and you can look back at any decade from our past and sum it up with the iconic imagery and a soundtrack that reflects what was going on at the time. Right now it feels like we’re pissing all over that.

Is the internet more of a help or a hindrance?
It’s a massive help to DIY Musicians such as myself, I can distribute and promote my music myself, find gig venues, book hotels when we’re on the road etc. And I’m constantly using online tools like Trello and Google Sheets to manage things. Sure there are some issues and it can be hard to get heard above the noise, but overall I think the pros far outweigh the cons.

As an artist, where do you stand on streaming services? Do you use them as a listener?
Love them! I have Spotify and use it everyday. As a music fan it’s awesome having that much music instantly available at your finger tips. I go through the new albums on Metacritic each week and listen to them on Spotify to discover new stuff, I use it to create playlists and go through back catalogs of artists I’ve discovered, or to just listen to old favorites without having to dig up the physical media from a box somewhere in my attic.
As a musician I don’t make a lot of money off of it, but I’m not bothered, there are other ways to make money from music and it’s still helped with exposure.

Finally, what are your short and long term plans for British IBM?
Short term, do some more promotion and gigs for this album so that I can feel happy that I did everything I could do to get it out into the world. That’s been like a full time job in itself but it has been fun.
Long term, I’m going to start work on ‘Where is Matthew Smith?’ and I’m also going to start incorporating some retro gaming into our live shows in 2016.

Massive thanks to Aidy for such a cool interview. You can find ‘Psychopaths Dream in Black and White” for the absurdly cheap price of five pounds sterling right here:
And you can read my highly complimentary review by following this link: https://hardpresseded.wordpress.com/2015/08/30/british-ibm-psychopaths-dream-in-black-and-white-review/

What’s Hot In My House – October

There’s a strong indie flavour to my listening right now, with Wolf Alice still more than pertinent, but as ever, I’ve been getting through a lot of music and there’s certainly been some cool new discoveries, like Haybaby, mentioned below. However, as I have given a fair amount of space to some of the bands that are on heavy rotation before, and don’t want to risk sounding repetitive, I’m only including the most relevant things this month, just in greater depth. Enjoy!

Haybaby – Sleepy Kids
Reviewed this the other week for Already Heard and have been playing it to death ever since. There are rough edges aplenty and some seriously sloppy guitars; throw in the lazy croon of Leslie Hong and some histrionics, and you’ve got a superb mix for their songs about life and lust. I’m finding more and more that I like with every listen; from the “I don’t give a fuck” attitude of ‘Old Friends’ and the breezy bass of ‘Her’, through to the insistent melody of ‘Elevator Song’ and the awkward geekiness of ‘Shy’. It’s a sublime record well worth repeated listens, whether it’s to revel in the emotional outpouring of the monumental ‘Edelweiss’, for the vaguely sinister ‘Doored’ or the superb ‘Pizza Party’, there’s never a dull moment and ‘Sleepy Kids’ is fast becoming one of my favourite records of the year. Full review here:http://alreadyheard.com/post/131624144363/album-review-haybaby-sleepy-kids)

Girl Band – Holding Hands With Jamie
Similarly sublime, significantly more sinister but no less enjoyable is the wholehearted festival of noise that is Girl Band. There is something strangely compelling about ‘Holding hands with Jamie’, making it a challenging but rewarding listen that will have you rethink how music should be. There’s no bullshit here, it’s music as art that reaches deep inside – go on, dive in. (Full review here:https://hardpresseded.wordpress.com/2015/10/02/girl-band-holding-hands-with-jamie-review/)

The Libertines – Anthems for Doomed Youth
I kinda missed out on the whole Libertines furore the first time round, so I didn’t have the same level of anticipation/expectation about this album as many people did. I’d got into Pete and Co recently though, so for me it just picked up from where they left off, the band members’ individual histories having no bearing on my enjoyment of the record. As such, I’ve been racking up the streams and loving Doherty’s poetic, semi music hall, Artful Dodger take on the world. Anthems is lyrically sharp, especially on the superb ‘Gunga Din’, surely the Libertines at their very best. Other high points are the rousing ‘Barbarians’, the quintessentially British ‘Iceman’ and the boisterous ‘Heart of the Matter’. All in all, the whole album is thoroughly enjoyable, highlighting everything that makes the Libertines the most important British act since Britpop.

Twitter, Twitter, Twitter.

What I most like about Twitter is that it’s not Facebook; there’s a kind of quasi-anonymity to it, yet at the same time you are also totally accountable for whatever it is you tweet about. Personally speaking I use Twitter to further my interest in music, though not exclusively, as well as to promote my work as a music writer. Consequently, the number of people and bands following me is growing daily, so I think it only right to reciprocate their interest by continuing to write about any musical followers regardless of their musical leaning/ability, that way they may expand their audience (or not) and readers may discover something new that they love (or hate). So here’s the latest…

Heavily 80s influenced electronica mixing well produced covers and original material. Clearly loves New Order, Depeche Mode etc.


4 Dead in 5 Seconds
Melodic Death(ish) Metallers from the Australian Gold Coast are an extremely talented band with a pretty cool progressive sound. They’re not afraid to slow it down here and there and explore time changes and arrangements, interesting stuff. Wolf Hunt is well worth a listen.

The British IBM
I recently reviewed their new album, Psychopaths Dream in Black and White, and will readily admit to thoroughly enjoying their brand of folk tinged indie. There’s some sublime Cello on the record adding a quite lovely depth to their textured sound. It’s a real end of a hard day album and well worth immersing yourself into its warm bath of comfort.

Jon Cruz/Heart Impaled
Heart Impaled is a kind of conceptual metal project from Jon Cruz that is actually quite badass. There’s plenty of machine gun riffing and more than a vague nod in the direction of industrial with the heavyweight sound effects, the processed vocal sound and the metallic edge to the riffing. It’s all very apocalyptic, with titles like ‘City of the Slain’ and Engines of Inferno’ but if you like your rock on the dark side then this may be just the right level of intensity for you.

Dan Hull/DFH/Messor Vernula
Multi-faceted D.I.Y metal with a hard edge.To be honest I’m not sure that this band still exists but Dan has new work in the pipeline looking for crowdfunding. (https://www.kickstarter.com/projects/916633371/dfh-second-album-release?ref=nav_search)


Susan Muranty
Not really my bag, but in the interest of maintaining my democratic approach to this section I am including all followers. Susan has a kinda folky, vaguely Celtic, acoustic strum soothing piano thing going on, so if you like your listening easy this may be your thing.


10 Songs that Never Fail. Ever.

There are certain tracks in the history of music that are like honey to the eardrums; they hit the spot every time and quite simply cannot fall flat. However, what is a classic for one, is not necessarily a classic for all; but here are a handful of tracks that as far as I’m concerned never fail – they are always welcome, whatever the weather.

Elvis Presley – Heartbreak Hotel
Probably the song that changed everything, it’s the perfect showcase for Elvis’ voice and it doesn’t get much better than on the 68 comeback.

The Doors – Roadhouse Blues
“Ladies and Gentlemen, from Los Angeles California, The Doors” enough said.

The Clash – Should I Stay or Should I Go
Great riff, great hook, great tempo change. Winner. Every fuckin time.

AC/DC – You Shook Me All Night Long
Even if you are not a fan of the band, this song is impossible not to like; I guess it’s one of the least AC/DCish tracks of all – the easy intro instantly familiar, the riff understated and the chorus as hooky as hell.

Stevie Wonder – Superstition
I mean, come on it’s got like the funkiest riff ever.

The Undertones – Teenage Kicks
John Peel: “Maybe once a fortnight, after a few days of listening to sizzling new releases and worrying that the music is merging into angst but otherwise characterless soup, I play Teenage Kicks to remind myself exactly how a great record should sound.”

Van Morrison – Brown Eyed Girl
This is a lesson in song writing – how to capture love and nostalgia in three minutes of faultless pop. Listen to it without thinking about someone you love or smiling to yourself.

Dinosaur Jr. – Freak Scene
As far as indie/grunge/alternative rock goes this song is just about unbeatable. It is probably one of the most underrated songs by one of the most underrated bands in rock history. Kurt Cobain once asked J.Mascis to join Nirvana for a reason ya know.

Al Green – Lets Stay Together
Silky smooth. As love songs go, it don`t get no better than this.

Frankie Vallie – Can’t Take My Eyes Off You
Covered over 200 times – quite simply the greatest song ever. Unbeatable.

Of Allies Interview

This series of interviews began life as an investigation into the difficulties faced by young bands on the UK music scene. The intention was to produce an in depth article with some sound bites from the groups included in the Five British Rock Bands that Could Use a Break piece (https://hardpresseded.wordpress.com/2015/08/06/five-british-rock-bands-that-could-use-a-break/), but the interviews have proved so damn interesting that it seems only fair to publish them in full. Each band has a slightly different perspective, so although the questions are repeated each group’s responses are equally revelatory.

The third band interviewed was Of Allies, who were formed from the ashes of Lavellion and In:audium and immediately gelled into a slick unit with a highly accessible heavyweight sound, overflowing with memorable hooks; when you wake up with a band’s songs replaying in your head they must be doing something right! Instrumentally they are very strong, with pounding riffs aplenty, tight rhythms and interesting arrangements, and in vocalist Rich Nichols they have a talented front man, in spite of his reliance on Halls and Lockets! (Watch the making of ‘Fragments’ at https://www.youtube.com/watch?v=Oym9N_t–Qk and you’ll get it!).

There’s not a duff track over their two EPs and the material is such high quality that this band deserve to be massive. There’s just enough radio friendliness to demand airplay but more than enough intensity to give them a very hard edge; they seem to understand the role of a bass player better than a lot of bands! Despite inhabiting similar territory to other alternative rock acts that know how to write a hook, they have managed to develop a signature sound which sets them apart, giving them a freshness and an air of excitement.

Like the other interviewees, they all have full time jobs; Rich, Tom and Dan all working in education, while Nick runs a marketing company with his brother. Even though they face similar problems to Blind Wives and Romans, Of Allies seem to be a few steps ahead and should their next release build on the obvious talent on display in their first EPs they could well be ready to start breaking through. Here’s what they had to say:

What is making the music scene so difficult for new bands?
I think this is a combination of factors to do with the amount of bands emerging and a downturn in physical music sales. It’s not like in the old days when a band would be spotted by an A&R guy in a small club and be signed to a major label on the back of their talent alone. Labels in particular want to see physical evidence of projective success to reduce the risk of losing money and the scene is jam packed with bands trying to inch out ahead of the pack. This, combined with the cost associated with being in a band nowadays, can often mess with a band’s morale. It’s important to have someone, like a manager, who can ensure the band’s best interests are always at heart to avoid the pitfalls associated with the modern music industry.

How competitive is the current scene?
Short answer, very. There are a lot of really good bands emerging within the British rock scene at the moment and obviously everyone’s trying to achieve similar goals. Fortunately, the vibrancy of the scene has made it into somewhat of a community and I’ve found that bands these days are more eager to help each other out than ever before.

Do you see the internet as a positive aspect to life in a band/the scene?
Yes and no. Yes because it gives bands more control over the ability to market themselves and put themselves out there to a much wider audience than would have previously been possible. It also enables you to find out about and get in touch with other bands and venues more easily. The negative aspect is fairly obvious. The drastic incline in illegally downloaded music has heavily impacted the industry as a whole and individual bands at ground level. Something I’m staunchly against. Without the internet however, we certainly wouldn’t have got as far as we have done so far.

Do you have jobs? If so, how do you balance the time?
Yes, we all have full-time jobs. Balancing the time is very difficult and requires a great deal of commitment. With the band at the level it’s currently at, the workload is equivalent to a full-time job in itself, so the balancing act can be very tricky. I think our passion for music and Of Allies is something that drives the four of us to continue to see it as a primary focus.

How often do you rehearse?
We rehearse once a week when on a touring schedule and sometimes a bit more if we’re writing. We also have weekly band meetings to discuss the “business” aspect of things like booking gigs, making videos and doing interviews like this! Pizza is always involved.

How many gigs do you get a month? Is it difficult to get a gig or is it limited by other difficulties?
Generally we gig one or two times per month unless we have a tour. I don’t think it’s difficult to get a gig but it is difficult to get a good gig with a promoter who works as hard as you. Over time, you come to develop a network of like minded individuals who are all pulling in the same direction, who you know have the same work ethic as you. Over the years we’ve found more and more venues and promoters who think like this.

Are you making any money? If so, how?
Haha, yeah. We’re very lucky to be making money, but we certainly don’t take a salary from the band. Most of the money comes in through EP sales, merch and touring. Every penny we make goes back into touring costs, recording costs, video production, marketing and all the other costs associated with being in a band nowadays.

What do you think of streaming services?
I think they are a necessary evil. I personally am a bit old school and prefer to buy physical copies of music as I think the package including the artwork has more artistic value. There’s nothing better than a double gatefold Pink Floyd vinyl is there? I think when music is reduced to digital files some of the magic is lost. Having said that, the ability streaming services give you to reach wider audiences and keep people excited about new music is awesome. It’s easier to find out about new bands using things like Spotify and it’s cool how you can find a new band and immediately share it with a friend and they can share it with their friend, blah blah blah. I suppose it all depends on your level of musical snobbery. And it’s still better than just stealing it, innit?

How do you promote the band?
We all look at Nick and say “have you promoted the band recently?” He generally mentions something about stats and interaction, by which time the rest of us have entered into a debate on where we should order our pizzas from. Nick loves his stats. Generally we use all the usual social media sites such as Facebook, Twitter and Instagram. We also have ofallies.com which serves as a hub for all of them. We also use more old school methods such as posters and flyers to promote a gig as we think there’s still value in that as Facebook invites can become white noise.

What are your short term and long term plans?
We’re currently in the process of beginning to write for a debut album, which we will be recording next year. We also have a few gigs lined up in Leeds, Camden and Hull. Long term, our primary focus is to promote the album and hopefully start to earn a living from making music!

You can keep up with Of Allies at http://ofallies.com/ and buy physical copies of their EPs for the unbelievably good value of five pounds sterling (that’s like the price of a pint and a bag of crisps!) at http://ofallies.bigcartel.com/
Alternatively you can download Fragments from i-tunes for under four quid! https://itunes.apple.com/gb/album/fragments-ep/id990902890
My review of Fragments can be found here: http://alreadyheard.com/post/119932405422/album-review-of-allies-fragments-ep and the interviews with Blind Wives and Romans are here: https://hardpresseded.wordpress.com/2015/09/28/blind-wives-interview/ and here: https://hardpresseded.wordpress.com/2015/09/29/romans-interview/ respectively.

Rudimental – We The Generation Review


How do you follow up a multiple award winning, phenomenally successful album packed with big ass tunes and block rockin beats? With some difficulty apparently.

Rudimental are back with their second album, ‘We the Generation’, two years on from the bombastic ‘Home’, and while all those elements that made it massive are still there, the maturity of the new songs will delight and disappoint in equal measure.

The album kicks off in trade mark fashion with big beats and big hooks, ‘I Will for Love’, with Will Heard (Sonnentanz) on vocals, and ‘Never Let you Go’, featuring Foy Vance, sounding very much like, well, Rudimental; which is all well and good, but there is a touch of deja-vu here. Although in themselves they are great tracks, they maybe don’t quite hit the same highs as say ‘Feel the Love’ or ‘Not Giving In’.

Rudimental’s positive vibe remains infectious though, and the tracks which work best are the more complex numbers such as the multi-layered ‘Love Ain’t Just a Word’ with Anne-Marie, whose retro vocal adds depth alongside Dizzy Rascal’s familiar tones, and the 90s vibe smooth grooves of ‘Rumour Mill’ (Will Heard/Anne-Marie) and ‘Common Emotion’, with long term collaborator MNEK.
‘Needn’t Speak’ also hits that laid back vibe, with Lianne La Havas turning it into a very cool tune; sometimes less is more.

The title track, featuring Mahalia, and ‘Go Far’ are both nice enough, also benefitting from quality vocal performances, but there are a few tracks lacking identity and not really going anywhere; ‘Foreign World’ and ‘Too Cool’ among the main offenders.

So now we come to the elephant(s) in the room. Love him or hate him, there’s no denying Ed Sheeran’s phenomenal success, and on ‘Lay it All on Me’ Ed has sprinkled his gold dust and it will probably save the album commercially after the poor reception afforded to most of the singles. For them to remix Ed’s Bloodstream, however, and use it as an album track, seems a little weird and I’m not convinced the remix works. Similarly, ‘New Day’, featuring the late great Bobby Womack, doesn’t exactly hit the spot; it initially had me reaching for the volume button, but is overly clunky and bass dense, swallowing up the vocal and strangling the guitar lines. Even so, the beats do kinda save the overcrowded tune that would surely work better stripped down with a bit of space between horns, piano, vocal and guitar.

Overall ‘We the Generation’ is a good solid album, but it lacks the bombastic swagger and hence the mass appeal of the debut, as shown by the unenthusiastic response to the preceding singles. Having said that, it is some of the more understated moments that make the album worthwhile and hint at a future overflowing with deep cuts.


Girl Band – Holding Hands with Jamie Review


Spoiler alert: This is not your normal run of the mill review because Girl Band are not your everyday band.

Umbongo of intense swathes of guitar builds to furious echoes. A festival of noise then quiet. Beseech before the guitar alarm goes off to the heartbeat drum. Chaotic battering, it’s fever pitch; real nightmare scenario. I look crap with my top off, quirky Pears for Lunch. Yelling at a runaway bass. Tear your hair out sonic histrionics then the bass, go bananas take a breather then go proper mental – phew Baloo, playing percussion down the hall, no room for convention here, taking their time – speaking directly to your soul.

I can’t think about it or I might cry.

There’s that crazy bass back in the mix. He’s gone hitting things In plastic and repeating repeating repeating. Guitar breathing like a snoring man. Something weird this way comes. Heartbeat drums again. Loops. Wtf are you singing man?

My brain may burst.

Paul, that sinister motherfucker, he’s in the room. Almost normal. He’s angry. Freestyle – come on! Pulsating. Beats. Aaaaaaghhhhhh. Frenzy! Smash it up; go shit arse crazy. Enough. Noise of the last Riddler. A trade off I don’t even know. Its over. Texting an Alien is pointless and I don’t know why I’m doing it but its downbeat. I can talk about it as the noises layer in smooth arcs. Distortion breaks it up. Shuffles to a stop.

Fucking Butter spreads around my head. Car alarm riffing folds around the tapping. Noise. Noise. Noise skips and turns and comes back round. Everything seems Ok. There’s a production line between my ears. Here comes a monster driving a bass line, an he got groove baby. But then he went to the shop and came back Texas drawl. Its gonna blow but the bass says no. No. NO.

The Witch Dr beats his drum. Talk real fast bro. He no nice. Demons growl. Gotta run. Industrial jungles muscle in. Shoot you down raygun style. Stone cold crazy chachachacha. Torn asunder in a painful demise.


Amazing, hideous, glorious. Music to wake up gasping for air to, I dare you.