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When screamo from Canada and metalcore from the States meet to fight patriarchy, a band posthumously releases music and a Russian emoviolence threepiece covers The Cure you’re probably reading SBS #47. The latest installment features Rosacea, The New Harmony, Vampires and Поминай как звали.

Rosacea - Rosacea


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Bearing lots of top-class screamo acts, Canada is also home to Rosacea, a five-headed group which flew way under the radar. With their new self-titled EP, the band from Victoria, British Columbia, now moves to the focus of interest. The six-song-collection starts with Cool Girl, a solidarity track for all women suffering under sexists and their behavior within the music scene as well as in everyday life. Atop of the song’s punk rock fundament, vocalist Max yells „you're not like the others, they're just here to get fucked. That’s what they tell you, and you keep your mouth shut“. After this outburst of fury the follow-ups excel due to their diversity, as of now yielding an angular screamo sound. Favorite song: Bedhead

"We spent the winter listening to The shins. I spilled my heart to you, ill-preserved in bourbon and you would just listen "because that's what friends are for“. How could we ever afford both our apartment and our grocery bills? We were so undeserving of being grown up, the words stung as they passed my lips. But we got by."

Поминай как звали - self-titled


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Hailing from Moscow, emoviolence trio Поминай как звали (Remember what they called) consists of vocalist Jura, who also plays bass, guitarist Danik and Nikita on drums. Recently released, their self-titled debut is a demolishing monstrosity even if according to the band not everything turned out as initially wanted. The eight songs include the cover of The hanging garden, which originally was written by post-punk gods, The Cure. While Jura literally screams his lungs out, Danik and Nikita construct the whipping wall of sound, proving that this song also works within a rougher setting as if it was always supposed to be a screamo tune.

"Creatures kissing in the rain. Shapeless in the dark again. In the hanging garden please don't speak. In the hanging garden no one sleeps."

Vampires - Vampires


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Already recorded two years ago, Vampires, a former band from Ann Arbor, finally took the step to posthumously release a self-titled collection of four songs on their bandcamp. with stars in her eyes opens the EP quite furiously. A sentiment of pure joy immediately begins to diffuse, as the dreamy instrumental arrangement and vocals collide. The following songs from It’s been done, which offers some high-pitched screams, to gold rush are rich in emotions and continue what the opening track has triggered. Vampires consisted of Jon Riley, John Sciortino, Mac Porter and Maya Chun and this record is their legacy.

"I lick my wounds, like a dog in the cold I am looking for a reason to ache I bite my tongue, while the radio reminds me that Life is a Highway." [Alex Jones and Me]

The New Harmony - Song and Rhyme Answers to Children’s Everyday Questions


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A year after their debut, New Jersey-based sextet The New Harmony, released their sophomore EP called Song and Rhyme Answers to Children’s Everyday Questions. The four songs are a melting pot of many kinds of extreme music genres. Particularly, it’s the ferocious clash between metalcore, a sub-genre that recently became fashionable again, and emoviolence, constituting the appeal of the release. The wide pallet of vocals, covering the range from clean to grunted to ear-piercing high-pitched, also contributes to the stunning compositions and supports the created atmosphere during each of the EP's 9 minutes.

"False hierarchy of man held up by those who suffer. Their bodies make up your throne. Their blood is on your hands. Feign ignorance, deny accountability for the murder of millions. Led to believe that the lives of others are less important than yours. "

The Ultimate Screamo Band is currently one of the hottest acts within the international screamo scene. Guillaume Archambault utilizes the project to unfold his musical genius, writing the songs, the lyrics and of course playing every single instrument. Now, we finally had the chance to catch up with him to talk about his passion and everything happening around the project - right now as well as in the near future.

Hey Guillaume, thanks a lot for sitting down with us to speak about your project - „The Ultimate Screamo Band“. Not too long ago you came back from a US tour with Commuovere. How was it?

Guillaume: The Ultimate Screamo Band US tour 2017 with Commuovere was simply awesome and amazing; in the end we played 16 shows of pure punk screamo energy where we met with so many great DIY bands like us, revisited some old friends and made new ones along the way. I cannot express how grateful I am to all the people who hosted us and made me realize this dream. This has also been a very liberating tour for me, as I am used to sit behind the drums in my other projects and fronting an emoviolence band was always one of the challenges I wanted to achieve. I consider myself a timid person (on some levels); this tour made me comfortable at every show and helped me break the barriers of shyness on stage. It was a truly great experience that I am happy I shared with Commuovere and my two friends Robin and Alex, who played with me. Despite all the bad political news we hear about the United States, I think it is a truly beautiful place in the world where the punk scene is strong and tight, and where there are a lot of really good hearted, all inclusive and respectful people. This tour was just magical.

Following a bunch of shows in last year’s August, the recent tour has been your second live appearance. To turn a one-man-project like TUSB into a functioning live band you had to find musicians to join you on stage. How did the collaboration with Robbin (drums) and Alex (guitar, ex-Nous Étions) come about?

Guillaume: Turning TUSB into a functional live band is not something I had in mind when I first created the project. The idea was mostly to release records and have fun being creative. What is truly amazing about this type of music is that you can travel with it and visit the scene in different areas of the world, and I have always loved that about it. The first 3 shows played in 2016 were sort of a road test for the project. Finding friends to play with me was kind of complicated but what is cool about this 'band' is that I can switch instrument if need be. Robin, my best friend, has played drums for all the live shows so far; as for bass and guitar, the lineup was slightly different from 2016 to 2017—this band is really malleable and I love the dynamics it creates. Playing the songs live is so much fun!

How did the preparation of the tour looked like for the three of you?

Guillaume: The preparation of the tour was definitely an important part of the whole process. Basically, how we work is: I sit down with each musician individually and teach them all the songs; with Robin who is a younger drummer, this has morphed into some sort of drumming lessons, and we have a lot of fun doing it—practicing speed and different time signatures; with Alex this year it was super fun to work with an actual guitar player who interpreted the songs better than I would. We tabbed all the songs together and practiced fast tremolo picking, we had a lot of laughs around the kitchen table, screamo is fun for that. In the end when all is ready we just practice the set a few times in a jamming space, set up a good guitar and bass tone, borrow a bunch of amps and everything is good to go.

Right before crossing the US border, TUSB also played two warm-up shows in Montreal and Toronto, where you performed at Zegema Beach Festival. You played in, let's say, for punk shows unconventional locations and occasions. Tell us about your experience there.

Guillaume: Playing Zegema Beach Fest in Toronto was one of the highlights of that tour, it was actually the first show that was booked and sort of became the reason why I took the band on the road again. One of the particular things that I noticed about the US scene, a big difference with Europe and even Canada, is that houseshows and basement shows are a very common thing (concerts happen more often in show houses than in bar venues). So you end up playing shows in different settings. Knowing that and loving it, I decided I would organize the tour kick off party in Montreal in my own apartment, it truly set up a good mood to begin this tour with. Then in the States, when things did not work out for whatever reason, venues would change last minute; and so we ended up playing in a pizza restaurant and also at a wedding (the ultimate screamo wedding in West Virginia). We met some amazing folks everywhere and truly felt accepted in a big family.

What was your favorite show of the tour and why?

Guillaume: It is really hard to pick one show and say it was my favorite; I definitely enjoyed every one of them. I guess I can mention the show in Amherst, Massachusetts, where we played with Sleeper Wave and Worst Days, two bands that I consider family now. The energy was beautiful and we played in an old 18th century house; Commuovere played such a good set that night, everything was perfect.

You had to cancel your show in Indianapolis, because Commuovere and you, both felt unsafe at the venue, explaining that „sometimes you have to decide what’s best for you and your friends“. I couldn’t help but think about Saulnier’s „Green Room“ and its mirky setting, crossing my fingers that everything’s ok. What actually happened?

Guillaume: The date in Indianapolis was simply canceled because the organization of the show was already extremely drunk before any band even got to the venue, nothing really bad happened but some of us in our crew felt it was not such a good idea to bring our instruments out of the van. We were also all getting very impatient at this point in the tour and voted democratically to cancel both our presences at the event. There was no nazis or violence like in the movie you mentioned.

You speak of TUSB as a ripp-off project, which is „heavily influenced by a few bands of the past“. What was the initial inspiration for you to come back to the sound of these bands, and which ones were you thinking about more specifically?

Guillaume: What we call 'screamo' or 'emoviolence' (or skramz for the younger generation) has always been my favorite genre in the hardcore punk spectrum. The melodic riffs, the buzzing sound of the guitars, the intricate time signatures, the screams; elements that really touch me personally, right in the heart. I started this project because I felt I could not quite find anyone interested in playing the same music in my hometown. I actually started "the ultimate screamo band" by recording covers of my favorite bands; Orchid, the Apoplexy Twist Orchestra, Raein, Buried Inside, Union of Uranus, Pageninetynine, The Flying Worker, Kaospilot, etc. Unfortunately, those recordings were never finished. Later on, in a very dark moment of my life, I felt very creative and decided I could write my own stuff and expel my demons. It worked. Now this project is my main 'band' and I feel very fulfilled by everything happening with it, despite the fact that the name is not very serious and is often laughed at.

You’re currently in Europe, working on new material. We’re eagerly waiting to hear new music from you. What can we expect, musically as well as in terms of the release-format?

Guillaume: The new material was mostly written during my trip in Europe; through the screamo online network I met a very nice person (hi Fabian!) who was nice enough to record my album and lend me instruments to work with. You should check out the studio, it's called Sunsetter Studio, located in Bremen, Germany. This new album is going to be 10 songs long; it will be very raw and aggressive, emo and violent. I am still figuring out the release format but for now the idea is to press a one-sided 10" and to consider it my first "LP", but the total running time is under 8 minutes. We will see! So far two-three DIY labels have shown interest in participating in the release; I am very excited for it.

What can we expect musically as well as lyrically?

Guillaume: The songs are really short and are the logical continuity of my previous material; I tried to incorporate different chords on guitar and expend the universe of the bass lines; lyrically, this album, like my two previous releases, relates the breakup of my last love relationship. The album title is 'Tout est fini', which means 'everything is over'; it's a sort of hommage response to La Quiete's La fine non è la fine (The end is not the end).

Any touring plans for 2018?

Guillaume:Yes, totally! Here is a scoop: ultimate screamo band will be in Europe in May 2018, I'm currently beginning the booking process for this tour. Keep an eye out and come say hi!

Last but not least we’d like to give you the chance to name a few bands you like to recommend.

Guillaume: If you read this interview, there are a lot of chances you know more bands than me; right now in my playlist is: Hot Cross, Malady, Louise Cyphre, Orchid (as always) and Nirvana. In the music scene right now, bands that really impressed me are: Cassus (UK), Handsaw (USA), Piri Reis (MALAYSIA), Massa Nera (USA), People's Temple Project (USA), Unable to Fully Embrace this Happiness (Austria), Rutka Laskier (CZ), Lora (RUSSIA) and of course Commuovere (CAN).

Hey thanks for this interview!


Following two projects with Kelut and Vi älskade varandra så mycket, dreamcore duo, mrtex are back with another split collaboration. This time, the duo teamed up with Baltimore-based screamo newcomers, SYNODUS HORRENDA. To get an idea of what this fusion sounds like, scroll down and enjoy the full premiere of the split record, which will be out on August 7 through Zegema Beach Records.

The liaison between the four-headed screamo pack SYNODUS HORRENDA and mrtex, marks the last release before renowned Dave Norman, writer of Saturated Brain / Open Mind, founder of Zegema Beach Records and vocalist of mrtex, leaves Canada for his new home, New Zealand. Besides Norman, the other half of the two-piece consists of YAPHET KOTTO’s bassist, Chris Story, who assumes the instrumental part of the band. Opening mrtex’s side of the split, Future Refract is the very first song of Story and Norman, eclipsing the four-minute mark. The song starts with a dreamy built-up, fascinating through its beautiful post-rock-fundament, only disrupted once, as wild drums momentarily throw everything into turmoil and chaos begins to prevail. The Truth About Human Design follows the well-orchestrated opener and sweeps across the listener within one and a half minute, offering a never ending fight between mayhem and chime.

As the last note of The Truth About Human Design has faded away it’s time to switch sides. Recently founded screamo quartet SYNODUS HORRENDA contributes five tracks, starting off with The Thrill of Living is Gone, a song, which indicates their spiritual and artistic proximity to hardcore and punk rock music. On the subsequent songs, Robbie, Juney, Nick and Billy continually embrace those influences, establishing a dissonant, sometimes abstruse sound. All of their debut songs harmoniously blend into each other, resulting in a coherent overall pattern, which will attract your ears at any time.

Dave Norman about the release: „The split features just over 12 minutes of caustic, screamy and sometimes atmospheric hardcore. The 50 cassettes are each housed in a unique photograph (so there are 50 different covers!) wrapped around a black tape, all within a plastic, resealable sleeve. Pre-Orders will be up on ZBR and orders will ship on the release date of Monday August 7th, 2017.“

Dave Norman about the side of SYNODUS HORRENDA: „From Baltimore, SYNODUS HORRENDA are a new band with members that have spent time in Eyelet, мища, Dawntreader and Sunners, to name a few. Their five debut tracks trade off vocals from June and Nick and generally are pulsating, raw and dirty screamo with a heavy emphasis on punk rock and hardcore."



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Four fantastic releases to fight your post-fluff depression are discussed right below. Besides the almighty Fashion Statements of the Socially Aware, the hype album of the Californian sasscore group SeeYouSpaceCowboy, we also recommend the latest release by Commuovere as well as the amazing debuts of Go Hibiki and Disney 69.

SeeYouSpaceCowboy... - Fashion Statements of the Socially Aware


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With their unmistakable sound, the Californian sasscore collective, SeeYouSpaceCowboy, currently makes hearts leap, leading a reinvigorated movement, once initiated through bands like Seattle’s The Blood Brothers. The five-some around the Sgarbossa siblings evolve a charisma, as probably seen for the last time since straight edge outfit Have Heart in 2002. Of course, musically either of the bands can’t be even approximately compared, but the capability of both to attract hardcore enthusiasts with their music and their undeniable presence seems to be quite similar. While the band consider themselves as a metalcore band, fragments of their sound and the aesthetics hovering around them strongly reminds of 90s screamo. With Fashion Statements of the Socially Aware the band from San Diego delivers a milestone of a sub-genre, that seemed to be forgotten not long ago.

Commuovere - Du besoin de disparaître de soi


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Recently returned home from their common US Tour with The Ultimate Screamo Band, it is time to examine Quebec-based screamo trio Commuovere and their latest Extended Play Du besoin de disparaître de soi, which was released earlier this year. The three songs, found on the record, are encircled by a claustrophobic atmosphere, whose crushing density unfolds right at the outburst of ’Consommer l’absence’. Subsequently, the one minute instrumental ’Dépersonnalisation / Déréalisation’ bridges to ’La dentition d’existe’, a high intensity song that - just like the opener - offers a gloomy setting, emphasizing the raw emotions in Marie’s vocals.

"May I go with you? May I just disappear?"

Go Hibiki - In the Years Spent


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Vocalist Uhl’s raspy voice opens the quartet’s debut asking "What's worse? If the world's gonna end or that it never will?“ - a significant question and the start of one hell of a six-song-collection, which musically leaves nothing to be desired. There are just few bands who have the prominent ability to craft moving melodies, without losing any energy or being overly obtrusive. Missoula-based Go Hibiki is one of those groups. Rob Cave, Alasdair Lyon, Elizabeth Taillon-Rogosienski and Ethan J. Uhl are serving the right dose of melodious tunes, shedding a strong punk rock attitude, which infuses every second of In the Years Spent.

"I lick my wounds, like a dog in the cold I am looking for a reason to ache I bite my tongue, while the radio reminds me that Life is a Highway." [Alex Jones and Me]

Disney 69 - Live Demo


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Disney 69’s firstling is a strong contender for the best demo recording of the current year. Based in St. Louis, Missouri, the screamo duo wrote seven sincere songs, which might sound a bit rough around the edges, but at the same time, they presage the great potential of the talented band. The intimate lyrics, once written by the band’s former vocalist Sarah, now are passionately screamed by Dove, who - just like Jeff Smith of Jeromes Dream - doesn’t use a microphone for her vocals. This definitely adds up to the raw and intense experience you will get by listening to the demo. From the opener called Midland to the very last song, the album is packed with a classy, top-notch screamo sound.


On the latest episode we share our thoughts about two amazing debuts on full-length distance, as elite screamo from Richmond, VA meets top-notch screamo from Nuremberg, Germany. This is the fourth installment of Notes From A Smooth Talker featuring todlowski (FFO: Masada, Rêche, Lost Boys) and ostraca, formally known as Kilgore Trout (FFO: Old Soul, Youth Funeral).

ostraca - last


Right before their European tour, Richmond-based emoviolence outfit ostraca have released their first Long Player on Skeletal Lightning and i corrupt records. Since then, the groundbreaking album has rocked the foundation of the entire international screamo community. Recorded at Minimum Wage during the end of the previous year, last follows Faces of The Moving Year - a split with Denton’s Fflesh Born - and the band’s 2015 debut EP Deathless. The threepiece from Virginia establishes a dense and versatile sound straight from the beginning of “Waiting for the Crash“. While the opening stunner comes along with a well-structured composition, the following “The Orchard“ is forged out of chaos and incensement, before “Childlike initially returns to disentangled fairways. During the span of the whole album, Brian, Gus and John are able to master the balancing act between the genre typical dissonant sound and majestic melodies, which are brought to bear in songs like “Worn Away“ or the epochal ten minutes song “Nausea“. Last mentioned builds the centerpiece of the album, captivating through its ingenious buildup. This leads to a stormy climax, where Gus Caldwell begins to scream “Is there anything more to life than just trying to find what little joy in it you can?“ - only to notice that “You’ll get nothing and think you deserve it, fight and fight to cry at the outstretched hands of the angels in your life. Suffer through it all to find a friend and then recoil.“ shortly after. With last ostraca set new standards in songwriting, delivering a six-song collection, which will be thought of as a modern classic really soon.

“There is nothing more awful than the knowledge that you can and will hurt people, especially the ones closest to you. How much easier to pray for the meteor, or the quake, or the wave. At my worst, I am waiting for the crash so that there’s nothing to explain. To everything you made: wave goodbye. The hospital’s never going to call, it was you all along.” [Waiting for the Crash]

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todlowski - s/t #2


Nuremberg and its nearby cities have a little, but thriving underground scene, yielding stunning screamo acts such as Masada, Lilith, Lost Boys or Rêche. Attracting genre lovers from everywhere with their distinctive sound, they all have long made a name for themselves far beyond city borders. Originating from the same set as the above-mentioned bands, todlwoski consists of Oliver and Nico. The duo, known for their intelligent and humorous, yet crucial lyrics, have now digitally released their very first record on full-length distance. Just by looking at the cover, there’s a certain fuck you attitude floating towards the beholder, later manifesting itself within the band’s rough and minimalistic sound and lines like „PC spielen und porno, guten morgen, bon giorno, Einschlaflektüre serviert von Adorno, leben mit Sinn, ist nicht mehr drin, wer danach fragt, hat längst versagt!“. Todlowski puts emphasis on multi-vocals and mathy sound-structures, which unfold their full impact right from the start of pardon, the opening track of the self-titled album. Arranged by the distorted guitar, virtuosically played by Oliver, choppy melodies and changes in pace are drawn through each of the eight songs. In katze cola or mimimi moralia the two-piece seems to be on top of their game, refining their overall work on their energetic debut Long Player.

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We’re back with a brand new episode of Short But Sweet, Polite And Respectful. Besides the blistering, self-titled debut of Austin’s Portrayal of Guilt we also discuss the fabulous split between 5000 and cape light - probably two of the most underrated screamo bands out there - and In Memory, the very first release of Richmond-based Majorel. SBS #45 also includes Juliane’s double review for Massa Nera. As always, each of the releases is worth listening to.

Portrayal of Guilt - S/T


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With Miss The Stars Records and Contrition Recordings being the conductors of the hype-train, which currently rolls across the screamo landscape, it’s time for you to get your tickets. Austin-based emoviolence blast, portrayal of guilt, just released their debut EP on both DIY labels and it couldn't be a better departure for the rising newcomers from Texas. The self-titled EP features three vicious songs, combining screamo with nightmarish black-metal influences, where diabolic screams are hunted by the blastbeating drums. If you’re into blackened screamo or bands like Majority Rule and pg.99 you should not hesitate to head over to the group’s bandcamp and stream those three tracks, while clenching your hands like claws, raising them towards the dull sky.

5000 / cape light - split


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Classical screamo is alive and breathing. 5000 and cape light, both hailing from Tokyo, combined their forces to burn down a chaotic firework of tumultuous guitar work and raging vocals. The top-notch split record feels like a throwback to the golden era of the genre during the late 1990s, helping the Japanese duo to finally advance into the dimension of groups like Lord Snow, Cassus or Piri Reis. Despite their great ability to write songs on top-level, 5000 and cape light unfortunately still fly way below the radar of international screamo enthusiasts. From HELPLESS to mukishitsu, each of the six tracks is reason enough to make this change and to fall in love with the tremendous sound of the bands.

"思うのやめた 君のことを 考えることもなかったけれど"

Massa Nera - will it be enough for you to keep going
& no estamos separados



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The five piece from Linden, New Jersey, released their first two EPs over the course of last year. Massa Nera plays atmospheric post-hardcore influenced screamo. This band knows how to build up powerful songs with delicate melodies. Their first EP "will it be enough..." is composed with mostly English vocals. But on both tracks Hatsukoi and Hatsuyuki the band puts some Spanish lyrics into the mix as well. They keep up the good work on their second release ”no estamos separados”. Playing with quieter and more intense parts, Massa Nera puts together another three songs. On the second track "Surely, we'll see each other soon" Dean Scordilis of Our Wits That Make Us Men joins in with spoken word vocals. Besides digital download, both releases are available as cassettes at Adorno Records, UK. Massa Nera also recently recorded a full length, so keep an eye on this band.

"You live with vague ideas concerning limitless potential, ‘til you’re blindsided by the passing of time and realize you’ve run out of options." [I'll be the next to go]

Majorel - Restless in Memory


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Sass bands like SeeYouSpaceCowboy and gif. from god have found a formula to extract the best elements of metalcore and combine them with the iconic sound of late 90s screamo bands such as Jeromes Dream or Neil Perry. An interesting way of proceeding, also applied within the sound of Majorel. Haling from Richmond, VA, the quartet has released their debut In Memory on Canada’s Zegema Beach Records. The five songs on the Extended Play appear to be one mighty ebullition full of shrieking vocals and heavy guitar chords. Placed right in the middle of the EP “Attempting Coherence in Form and Intent“ is revealing the full potential of Majorel, marking the highlight track of In Memory.

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The Ghosts That I Fear of Vancouver’s dad thighs deserves so much more attention. Down below we tell you the reasons why. The new episode of Notes From A Smooth Talker also contains Juliane’s review about the German / Swedish collaboration between La Petite Mort / Little Death, Vivre Sa Vie and Young Mountain.

dad thighs - The Ghosts That I Fear


When it comes to emotional punk music it’s a convenient diversion to stumble upon something like The Ghosts That I Fear. The first album of Vancouver-based dad thighs sticks quite closely to the quintessence of the genre, without feeling like a cheap replicate of already existing works. Yet proved in the past with numbers like Left My Heart in Langley, the band once again showcases their ability to craft pure and sincere emo songs. Mastered at legendary Dead Air Studios in Massachusetts, the record starts with an anthology in the form of the binary epos, Going to the Dump to Watch the Bears. Both parts are beautifully arranged by the synergy of the group’s mathy instruments, caressing the vocals of lead singer Victoria. Every now and then the voice of guitarist Felix joins in, hereinafter leading to a breathtaking canon, where he finally confides “I can't say that I've never fantasized about my own funeral and who would be there“. The following tracks perfectly engage with each other, making The Ghosts That I Fear a coherent piece of art, temporarily culminating in My Favorite Valentine, a ballade sustained by smooth dual vocals, which flatter the listener’s ears. Characterized by a bright usage of all kinds of chants like spoken words during The Shadow that Desires is Left with Nothing but a Relic of Someone Else’s Dreams or rough, almost screamed vocals whilst The Rain it Raineth and Of Summer, the album’s composures are rich in variety, encircling the poetic lyrics. This record is a gem and it definitely deserves way more attention as it currently gets. So go and listen to The Ghosts That I Fear, spread the word and order a cassette from Damn Fine Tapes or Old Press Records.

“If this is love then we have learnt nothing, if this is love then where is life meant to lead us except in circles, and I'm pained and I'm dead and I'm going to bed with wide open eyes again.” [Going to the Dump to Watch the Bears Part I & II]

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La Petite Mort // Little Death / Young Mountain / Vivre Sa Vie - 3-way Split


We recently presented the song “Windchime” from La Petite Mort/Little Death here and now it is time to say a few words about the 12” split it is part of. Five record labels have this three-way-split in their catalog: Miss The Stars (DE), Zilpzalp Records (DE), Hardcore For The Losers (AT), Pundonor Records (ES) and Voice Of The Unheard Records (FR). The record kicks off with two songs from Gothenburg based Young Mountain. They start out with the atmospheric post rock influenced “Pilträdsvillan” fitting in well with the Swedish lyrics. Apart from a short ‘wohoo’ singalong part, the fivepiece dispense from singing altogether, as it was found on their first releases. Instead, they use different shouting and screaming variations which I totally dig. Their second song then sews catchiness with melancholy showing this band’s process of growth and “Bloom”. Following is the skramz band Vivre Sa Vie hailing from Stockholm. This second release for Wiljami, Jóann, Tobias and Osborn covers elements they used on their previously released demo. The song “Ehler​-​Danlos” demonstrates their typical fast and hacking sounding staccato style. The second one, named “Shield”, uses various elements like calmer spoken word parts switching to intense screaming, expanding into chaos back and forth, but ends in a surprisingly calm guitar picking with a distorted female voice sequence. Last but not least, La Petite Mort/Little Death from Rodgau contribute three songs to the split. They remain true to the mathy, tuneful sound recorded on their debut LP “Dear Reader…”. The Intro, a short blast, blows up the energy giving a peek into what this threepiece is up to and capable of. Then “Windchime” starts off again with these short, throbbing melodies in repeat. The voice fits in with a rapping, terse tone, often slightly off-key, growing into somersaulting shouts. They close the split with a melodic beat, harmonica and singalongs on “This name rings a bell” making me grateful to see such thrilling bands working together.

“Breathe into the sky, through perilous clouds and towards a new tomorrow. I will be there for you always, even when crimson rain comes pouring down. I’ll be by your side, you will be safe and sound. Yes this is my love-letter to you. Cross my heart, hope to die, your gift keeps me alive. And if we’re drawn apart, it's only distance my dear. I’ll be back soon in your arms, you have nothing to fear.” [Distance]

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