Music has the tendency to be incredibly evocative on emotional and psychological levels. Sometimes it takes us to dark forests, barren deserts, long-forgotten kingdoms, and landscapes of mystery. In other instances, we are comforted by the familiar and nostalgic. That song that brings us back to the carefully catered soundtracks of nervous first dates, the album that comforted us as we processed the death of a loved one, or maybe that old, scratched CD filled with random songs we partied with our friends to. Music is an effective vehicle to propel us through our own psyches, exploring caverns of thought and imagination that are seldom so effectively realized. Not all of these evocations are pleasant, however. Like when music makes us feel like we’re swimming frantically away from a ravenous battery of starving barracuda. Buckshot Facelift live squarely in this final, most aggressive and discomfiting of camps. Prepare your ears accordingly.
This past weekend, I had the pleasure of catching up with Cade Gentry (bass), Alex Linden (vocals/guitars) and Zach Johnson (vocals/guitars) of doomsters Bereft (who just released a great new record titled Lands). Like any legitimate conversation that takes place in Wisconsin, we met for a couple of beers at a local tavern and discussed important things like which chain makes the “best” shitty pizza, how Def Leppard may or may not suck, and the merits of quality TV like Forensic Files and Designing Women. Most of our time was spent talking about how these regular dudes came together to put out one helluva heavy-ass record (seriously, check it out).
We like to joke around here pretty constantly that the amount of quality music out there in the world for us to consume and critique is magnitudes more than we can possibly manage, that we are drowning in a sea of music and are suffering mightily for it. We are all the “Why can’t I hold all these limes?” guy.
Back when I first started my Penn State career I knew just about nobody (one whole semester ago). I felt kind of awkward at a lot of the DIY shows, was uncomfortable with the idea that nobody was really moshing, and just generally wasn’t vibing with the overwhelming number of acoustic acts I was seeing. But still I kept going to all the shows, slowly meeting more people, but still failing to find that one local that really blew me away from a musical and performance perspective. That was, of course, until I saw Dimmer (that show actually helped me find my other favorite local, Palmlines, too, but that’s gonna be it’s own post) in a cramped ass living room. It was hot, uncomfortable, and I barely had room to stand. Ultimately I was extremely (again) uncomfortable and unhappy at that show, but Dimmer played with such an immense amount of energy that I pretty much forgot my underwear were riding up in an uncomfortable sweat wedgie.
Rough week! We have some news to discuss, and Ben of Hadal Maw to interview, but technical issues keep getting in the way. Also, bonus points if you can tell me what artist the episode title is referencing. Beyond having a neat conversation with Ben about the Australian scene and his writing process, we discuss some news with Eden, mainly new music from No Sin Evades His Gaze, Ulsect, The Acacia Strain, Artificial Brain, Alpha Brutal, Orm and Slugdge. Also Violet Cold got signed, maybe? Enjoy.