About Me

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This blog is dedicated to promoting mathcore/grind/experimental bands from Australia (predominately). If you like what you hear, go out and buy it, see a show or pick up some merch. Don't be a cunt. All the links marked "Mediafire" or "Rapidshare" (unless noted otherwise) are my own CD rips/Bandcamp downloads, so if you're from one of the bands and want me to take it/them down, just let me know.

Wednesday, 14 November 2012

Roussemoff - "Roussemoff: Special Long Decay Version"

"The strict cohesion of the band was decidedly obvious at all times, but when their music developed to include three levels of polyrhythmic atonality, it became impossible not to be amazed by both the separate and collective talents of the people onstage." - Riley Knight (Vulture Magazine)

Free download.

Artist: Roussemoff
Origin: Melbourne, Victoria
Genre: Post-rock/progressive metal/psychedelic
Album: Roussemoff: Special Long Decay Version
Release date: August 2, 2012
01. Die Loudly - 04:25
02. Tokyo - 02:17
03. Slow Numbers - 05:32
04. Epic The Bird - 05:24
05. Ivan - 07:26
06. 2e - 15:33
Format: 320kbps, mp3/FLAC
Download: Bandcamp
Website: Facebook

Roussemoff - "R​(​live​.​01)"

"In Succulent, the instruments fire like pistols in sync, and listening to Slow Numbers is like walking down stairs blindfolded." - Stephanie Liew (Inpress)

Free download.

Artist: Roussemoff
Origin: Melbourne, Victoria
Genre: Post-rock/progressive metal/psychedelic
Album: R​(​live​.​01)
Release date: November 12, 2011
01. Slow Numbers - 06:19
02. Inculent - 04:57
03. Succulent - 03:03
04. Ivan - 06:56
Format: 320kbps, mp3/FLAC
Download: Bandcamp
Website: Facebook

Wednesday, 7 November 2012

Haut Et Court - "La Vie"

Band deserves to be on Throatruiner Records' roster. Good shit; free download.

Artist: Haut Et Court
Origin: Strasbourg, France
Genre: Mathcore/grind
Album: La Vie
Release date: October 29, 2012
01. Let It burst - 01:39
02. Krokodil - 03:06
03. This Genesis - 01:38
04. Colision - 01:45
05. Life - 00:14
06. Wasted Time For Wasted Minds - 03:27
Format: 320kbps, mp3
Download: Bandcamp / Mediafire
Website: Facebook

Wednesday, 17 October 2012

Nobody Knew They Were Robots Interview

A conversation with Clayton Segelov of Nobody Knew They Were Robots and The Brain Recording Studios.

Between all the gigging, recording, live mixing and lecturing, it seems you quite literally “live and breathe music”, if you’ll excuse the cliché. The fact that almost every avenue of your life is spent honing your craft must be an overwhelming prospect at times. Do you ever think “Fuck this; I’m gonna go bake a cake instead”?

Haha. Man, music is definitely my life. I can’t live without it. As corny as it sounds, I don't do it because it's my job or for the money, I do it because I have to. I do like cake, but I would much rather spend a few hours getting a great drum sound in the studio, or smashing up my guitars onstage with my band than baking.

Will your debut album see a physical release, or will it be an exclusively digital affair? Have you been approached by any labels in regards to its distribution?

We have talked to a few people about releasing our music, and we're not sure which road we're gonna take with it. We'll have a physical release for sure though.

Your last MySpace update seems to suggest there was point in which the band was inactive. If I’m correct in this assumption, what was the catalyst behind the hiatus?

Our MySpace? Yeah, should probably shut that down.

We did have a hiatus. It was because our original guitarist, Ryan Neal, left the band. It took a while to find a replacement. Ryan is an amazing guitar player and he set the bar incredibly high. We're lucky to have found Michael Taverner to replace him. Mike is also an exceptional player and now the bar has been raised again. Just when Mike had settled in, our drummer Mark Davies left the group. He has since been replaced by Max Marquis. Both Ryan and Mark left the band on good terms and will forever remain my brothers, they were both awesome enough to train up the new guys, making the transition as smooth as humanly possible.

Has the band’s line-up experienced many changes since its formation?

Yeah, quite a few. As the music evolved, life got in the way or some members became less interested. This music is an acquired taste. Not everyone wants to play like we do. This band is not an easy band to be in. Thankfully Mike, Amy and Max make a killer line-up, and in my opinion, are the definitive NKTWR.

Given the complexity of your compositions, does handling vocal and guitar duties in a live setting ever prove too difficult?

Sometimes I miss a vocal cue or leave out a part, and we've done the odd instrumental set. But generally it’s not the complexity that does it, but the thrashing around on stage that means I’m just too far away from the microphone to do anything about it.

Your onstage banter between songs is hilarious. Have there been any instances in which humourless patrons have taken offence and complained to management?

Haha, cheers mate. Never by management, but I have been threatened with broken pool cues, chairs, smashed schooner glasses and outright beatings by guys whose girlfriends I have hit on/stolen from the stage. It’s all good fun though, and thus far, I haven't sustained any permanent physical injuries.

With both yourself and fellow member, guitarist Michael Taverner, in the employ of The Brain Recording Studios, you’re no doubt exposed to a wide variety of musical styles on a quotidian basis. Beyond the apparent homage your bands name pays to their similarly-titled song, does the material you write with Nobody Knew They Were Robots have much of a Mr Bungle influence, particularly where genre-hopping is concerned?

No, not really. I’d say we're more influenced by Dillinger, Botch, Converge and The Blood Brothers. Noisy, tech hardcore stuff is where we draw our inspiration from.

For better or worse, throughout their career, Five Star Prison Cell’s output drew myriad comparisons to The Dillinger Escape Plan’s collaboration with Mike Patton. If “Seeing Rats, Hearing Pianos” is anything to go by, “Irony is a Dead Scene” has obviously played an important part in the shaping of your sound, too. What do you feel sets you apart from the wave of imitators the aforementioned EP spawned?

That EP is awesome for sure. Five Star were awesome too, we played with them a lot. I kind of think that we have been moving away from the sound of "Seeing Rats, Hearing Pianos", or maybe we have taken the bits that we like about that track and expanded on them. I dunno. There will always be bands that are inspired by other bands. It’s Converge this week, isn't it?

How has working “behind the scenes” for a living affected Nobody Knew They Were Robots’ own tracking sessions? Will the mixing and mastering of the album also be undertaken by your fine selves?

It just makes it slow. It can be hard to find the time amongst the hundreds of audio-related jobs that Mike and I do. But we're getting there. Amy is actually tracking bass as I type this. The album will be completely produced by myself. I will probably handle the mixing; however, mastering will be taken care of by our good friend Alan Douches at West West Side Music. He handles 90% of the records that get made at The Brain Recording Studios.

As a habitué of The Sandringham Hotel, how did you react when news of the venue being placed in receivership broke? What sort of impact do you predict this development will have on the local scene? When you consider the cost effectiveness of hiring DJs or hosting karaoke nights, isn’t it only logical to conclude that the death of live music is inevitable?

I’m gonna miss the place for sure. It’s a shame, and you’re right, we’ve played there a lot and have a deep love for the place and its history. But there are new venues, and we need a shake up here in Sydney. Things get stale, you know? But most importantly, we need venues and promoters that understand that charging bands to play is not okay. I believe that venues who have allocated space to live music should commit and work hard to make the space work for them. They need top-notch booking agents, ones who put bills together that attract a crowd. Sure, it’s gonna piss people off when they can’t get a gig. But that's one of the problems. If you throw a random bill together with bands that don't pull people, why would you expect anyone to turn up?

If you put together quality bills, provide a quality space, with quality staff, including sound, lighting, bar and security, then you're providing a valuable service and people will want to be in your venue.

Have crap bands, angry bouncers, sound guys that are straight out of audio school, no-one manning the lights, rude bar staff that pour shitty drinks, then you’re gonna have an empty venue.

I’m not saying that the Sando is necessarily the venue I’m describing, but a lot of venues in Sydney that had the problems that I have described are closed or closing, and The Oxford Arts Factory is open, and looking healthy. It’s just a shame they don't do mathcore nights :)

Shot over a three-year period, Michael Dafferner of Car Bomb’s documentary [Why_You_Do_This] is a rather telling exposé on the pitfalls of touring. Amongst other things, the film highlights the band’s struggle to recoup the financial losses incurred as a result of low turnouts and dodgy venue-operators. Do you always break even at the end of a tour? Have you ever been ripped-off by a club-owner or promoter? Why do you do what you do?

We don't often break even at the end of a tour, no, but as I said before, we don't do this for money; we do it because we have to. It’s what we are here to do. It’s what we do best. There is no option.

We've never been ripped off by a promoter.

Despite calling Australia home, bands such as Brazen Bull, Serious Beak, and Entrails Eradicated have received recognition and praise in online publications all around the world. What do you think the future holds for Australian metal? Is “technicality” likely to become just another gimmick?

I don't think technicality is a gimmick. But I do understand that there is a limited audience for this kind of music. I believe there is an audience for it, it’s just spread out. You’re probably not gonna get them all in one place at one time. If you want that kind of response to your art, you need to cater for the masses. Sneaky Sound System would be a better bet. Aussie metal bands will always do it tough. But that’s why we get bands that are as good as Five Star, Brazen Bull, etc... Because you have to be awesome to stand out and get noticed by the few fans of extreme music that we have here.

Getting overseas is probably the best bet you'd have at being recognised by a wide audience.

The final NKTWR shows for 2012:
27th October, The Annandale Hotel, "Progfest" w/ Ne Obliviscarus
9th November, The Lansdowne Hotel, w/ Serious Beak
15th December, The Town Hall Hotel, w/ Broozer

Thursday, 20 September 2012

IDYLLS/Palisades Split

Artist: IDYLLS/Palisades
Origin: Brisbane, Queensland/Melbourne, Victoria
Genre: Mathcore/grind/post-hardcore
Album: IDYLLS/Palisades Split
Release date: July 13, 2012
01. IDYLLS - Born Anxious - 00:53
02. IDYLLS - Piss In The Ocean - 14:40
03. IDYLLS - A Wonderful Summer... (Palisades cover) - 05:34
04. Palisades - Luckie Street - 01:47
05. Palisades - Unfriendly & Unapologetic - 03:56
06. Palisades - Tooth & Claw (IDYLLS cover) - 01:56
Format: 320kbps, mp3
Download: Bandcamp
Website: IDYLLS / Palisades

Friday, 7 September 2012

Brazen Bull Interview

Interview with pots-and-pans-man, Simon Goudkamp of tech-grind wizards, Brazen Bull.

What prompted the change of cover art between the pre-production stages of “The Travelling Parasite” and its official release?

Well, we originally got the artwork done, with the tentacles and the city, and it was actually done quite early on in the writing process. Once we actually got a clearer idea of the direction we were going with the album we decided that it wasn’t really for us. We are good mates with the artist and I was actually in France visiting him at the time so we were able to talk it through and eventually came up with the cover you see now. It’s perfect for what we were after.

The scat singing that appears on the demo of “Dusted Red Lungs” was omitted from the album version. Why was this the case?

It was one of those things; we tried a whole bunch of ideas for the album, some worked some didn’t. The scatting bit when recorded just didn’t feel right so we decided to leave it out.

A quick Google search reveals that the song-title “IDDQD” is in fact a reference to the “God Mode” cheat code found throughout the “Doom” series. Is the sample that introduces the aforementioned track lifted from one of the games? Or was it created specifically for the song? Do you consider yourselves avid gamers?

IDDQD was lifted out of the Doom god mode cheat, we thought it had a good ring to it and would be good subject matter. We all like video games, particularly the two Taylors. I tend to go for the more old school games and dig the low-quality aesthetics.

According to a recent Facebook update, you’ve already begun writing new material. Stylistically, how does what you’ve been working on differ from your back-catalogue?

It’s too early to say at this stage, we have written about a minute and a half of music. We generally take a long time to write songs, with about a 3 month minimum for each song. Not sure if we will do an album or EP next, guess we will just wait and see.

The departure of founding member and original vocalist, Fox, in addition to the lengthy process of procuring funds to pay for the recording, mixing and mastering of “The Travelling Parasite” were cited as reasons as to why its release was so delayed. One can only imagine how frustrating that must’ve been. As individuals, how do you reconcile a “normal” life of day jobs, bills and familial commitments with that of a touring musician?

We just kind of have the attitude that the working side of things is there to support the music. You have to work because that pays for your music, be that touring, merch, equipment, rehearsals. All the money we make goes straight back into the band.

Speaking of Fox, his latest musical endeavour, Deluge, was abandoned due to the scarcity of capable musicians. Was the formation of Brazen Bull fraught with problems of a similar nature?

It took us a little while to get the original line-up and from what I gathered Craig and Fox tried out a lot of drummers before myself so I guess it was. The point at the end of the day is not to rush the line-up. You don’t want any old bozo joining the band, you have to make sure it works on a personal, and musical level.

Your current vocalist Weldon McDonald has fronted the band for roughly two years now. What was the initial reaction from fans like and how have you seen it develop since his induction?

Generally speaking the reaction has been positive, we all really enjoy his attitude and stage presence and it clicks so well with what we are about musically. Of course there were haters, and given Fox's unique and quite intense vocal style, there would be people who would prefer that to Weldon’s approach, but you can’t please everyone. Judging from Russian torrent sites we fell out pretty hard with Eastern European grinders. Haha.

Are there any plans to take the “Hatched and Scrambled” tour overseas? Have Australian audiences responded positively?

The response to all our shows since the albums release has been amazing and we have been getting a lot of support, and good feedback everywhere we have played. We are hoping to go overseas, there is a whole bunch of logistics involved, I guess we are just waiting and planning for the best opportunity.

Aside from “The Travelling Parasite”, Craig’s record label, Cretaceous Records, has yet to release anything else. Is there much in the pipeline?

Cretaceous Records has not yet signed any additional bands, though there are a few on the horizon. As with any new business lessons have been learnt and the future of the label is looking healthy for a number of promising new bands to be inducted into the Cretaceous family. Keep an eye out for some releases in 2013!

Do you still perform songs from the self-titled EP live? It’d be interesting to hear Weldon’s interpretations of them.

Since the albums release we have pretty much been playing it start to finish. We are hoping for our next couple of shows in November to have a couple of songs from the EP thrown in as well. Weldon’s pretty much got to write the vocals from scratch again, being so different stylistically (to Fox’s), so it takes time.

A shot taken from the filming sessions of your upcoming music video for "Sporting A Nevada Tan” was recently uploaded onto your Facebook page. How did it all come about? Will the clip feature footage of the band performing interspersed with a story of sorts? Would it be safe to assume the members of Brazen Bull are “torture-porn” enthusiasts?

You pretty much nailed it. Basically, we are playing in a classroom, while in a playground one girl murders the other in obscene and honestly, quite ludicrous ways. It’s awesome, just you wait and see. Brazen Bull are B-grade horror fiends, so that's where a lot of the inspiration for the clip came from. That and Monty Python’s “Salad Days”.