|Honey Forever Fire Out Now|
A very Happy Record Release Day to Honey. The Philadelphia based thrash-metal group, fronted by Jay Laughlin (Turning Point / Godspeed), play it fast and heavy in the vein of early Sepultura and the beloved Powertrip. Forever Fire marks their first album with Trenton indie-label Hellminded Records. Vinyl pre-orders are available at Hellminded Records and include three vinyl variants, a very limited repressing of the bands first EP, and a shirt.
STREAM: FOREVER FIRE
Bio: Originally, Honey wasn’t conceived as a full band project. It was more of a solo project to serve as “therapy” for singer / guitarist, Jay Laughlin (Turning Point, Godspeed). As Jay puts it, “I’ve been playing in bands non-stop since the 8th grade (1986). In 2017, I had a couple of back-to-back shitty situations which put me into a seriously dark depression. I thought maybe it was time to take a step back from playing in a band and book some studio time to make a record for myself… by myself.” These sessions would take Laughlin back to his roots — the heavy metal and hardcore music that first caught his ear and possessed him to pick up a guitar and write songs in the first place.
Towards the end of the recording sessions that became the self-released “Nightmare Come to Life” EP, it was clear that this project should become Laughlin’s next band. Jay explains, “The plan was to play everything myself, but as I was getting deeper into the recording process, I became more and more excited about how things were coming together. So, I decided to bring my friend and old bandmate, Chris Hunter in to play some lead guitar parts to complete the songs. He’s the best guitar player I’ve ever played with, and we were both struck by how much we liked the songs. So, we thought it’d be a great idea to find a drummer and a bass player so we could play these songs live.” Miles Ziskind (drums) was brought to Jay’s attention by his brother-in-law, who said, “I have a friend who’s an amazing metal drummer — you should get him for your band!” So, when the time came, Miles was the first and only drummer Jay reached out to. “Turns out my brother-in-law was absolutely right!” says Jay. Laughlin was introduced to Greg Karlowitsch (bass) by a mutual friend, “This is metal Greg, you two should start a band.” So, it was a no-brainer, Greg joined up too, and Honey (the “therapy” project) became a full band. As Jay puts it, “It seemed like it was meant to be. Miles and Greg blew me away the first time we jammed together.”
Fast-forward to early 2020. Honey is a proper band with an EP on the verge of release and live shows are booked, and then… well, we all know what happened next. The world shut down! Live music is gone for the foreseeable future. “The depression that inspired this project in the first-place kicked in all over again.” Jay laments. But there is a silver lining — Honey has since had the good fortune to sign a deal with New Jersey’s, HellMinded Records and are set to record a debut full-length album, which is scheduled for release in the early May of 2021. Jay and the band are excited for the future. Jay sums it up this way, “As much as 2020 has been doing its best to keep everything I love on hold, I couldn’t be more excited to make a record with this band at this time. Playing music that’s loud and fast with my friends will always be the best therapy!”
FFO: Power Trip, Enforced, Mindforce, Iron Reagan
Release Date: 5/28/21
Label: Hellminded Records
Formats: Digital | Vinyl
Hellminded Records: Facebook | Instagram | Twitter | Website
Honey: Bandcamp | Instagram
Album Credits: Jay Laughlin – Vocals/Guitar
Miles Ziskind – Drums
Chris Hunter – Lead Guitar
Greg Karlowitsch – Bass All songs written by Jay Laughlin except Relentless, written by Jay Laughlin and Chris Hunter All lyrics by Jay Laughlin.
Produced by Jay Laughlin and Pete Rydberg.
Engineered and Mixed by Pete Rydberg at 1934 Studios, Philadelphia, PA 2020
Mastered by Arthur Rizk
Cover painting by Adam Burke / Nightjar Illustration
Yes! We have been anticipating new Clowns music, and the wait is finally over! Our beloved Australian thrashers dropped a new song titled, “Does it Matter?” Clowns vocalist Stevie Williams expands, “We wanted to write the most Clowns song that had ever existed – it’s punk, it’s garagey, there’s some screams, there’s some big singalongs,” Williams says. “It’s got a smashing guitar solo and it’s about doing whatever you want to do and fuck the rest of the noise.”
“Does it Matter?” is a hook-heavy raucous number that demonstrates the prowess of their current lineup. The band is now completed by drummer and founding member Jake Laderman, vocalist Stevie Williams, bassist/vocalist Hanny J, and guitarists Rod Goon and Cam Rust. This fresh single is just a taste of what Clowns have up their sleeves, so stick around.
Australia/New Zealand, Damaged Records has you covered.
The USA & beyond, HIT PLAY!
Where are you from and when did you get started?
Doug: Im originally from a place called Satans Kingdom in Vermont, look it up I’m not kidding its a real place. I moved to Rutland in 2016 and Pete was my roommate, we started jamming together and found the need for a drummer. We found Zach online and Im glad we snagged him before someone else did! So this line up of Crypitus started in May of 2016.
Pete: Crypitus is the sound of breaking bones! Doug and I started jamming together after being roommates and not being able to find musical projects. Originally I mistook Zach for another drummer friend of mine, but he turned out to be a perfect addition anyway.
Zach: I’m Zach. I’m from Mendon VT and I rock percussion for Crypitus. I started playing drums when my best friend died and left me his kit. I was like, shit, looks like I’m going to have to learn now.
Who are you and who does what in the band?
Doug: Im the Guitarist/Vocalist/Manager of Crypitus!
Pete: I’m Pete. I melt faces with some of the sickest guitar riffs ever written. I carry the rhythm end with Zach.
Zach: Im the percussionist for this act!
How would you best describe the sound?
Doug: I would describe it as a Thrashy Blackened Death Metal sound with a progressive twist.
Pete: We’re a fusion of death, thrash, and old school heavy metal with lots of extra bits of jazz sprinkled on top.
Zach: I think I would classify Crypitus as psychedelic thrash metal. We pull from a lot of influences. Crypitus is the sound of breaking bones.
Dream rock moment (real or not)?
Doug: I took my first stage dive in Maine this weekend, I intend to do more!
Pete: My dream moment would be hanging out backstage at a festival we’re playing at and seeing the guys from Mastodon just come up and chill with us and drink some beer.
Zach: I guess my dream moment would be our first headliner, at some stadium, with thousands and thousands of maniacs screaming for Crypitus. It’ll happen.
Still got day jobs?
Doug: Yes! I’m a Pharmacy Technician, been doing it since I was 18.
Pete: I work as a car detailer at a car dealership. It’s ironic because my car is fucking filthy.
Zach: Yeah, I work full time with autistic folks in their homes, helping them to live a mostly independent life.
Doug: I try not to regret but there’s plenty of moments in my life that I would use the time differently. More productively I would say.
Pete: I regret being in a serious relationship in high school that kept me from jamming with people sooner.
Zach: Regrets? Yeah I’ve fucked up plenty in the past, but as soon as I’m done repairing myself, Crypitus goes worldwide. As far as Crypitus goes, I have no regrets. I couldn’t imagine a band to have so much in so little time.
Wolf-Face has premiered the official video for
“Give Me A Keg of Beer”
The song and video sees the Florida lupine punks return to their thrash punk origins. The song originally appeared on their self-titled debut EP, and was remastered and re-released in 2016 on vinyl via Swamp Cabbage Records on the album “Love Songs For The Lycanthropic”.
© 2016 Transcending Obscurity
Ok, so funny thing. I’ve been waxing nostalgic a bit lately and listening to a lot of the 80s Thrash Metal that I grew up on. I still love it, but it kind of went away when Metallica and Megadeth got so damn popular. Well outta nowhere and into my inbox comes some brand new Thrash that sounds like it’s from the days of old. Freaking awesome! Wilder still these cats are cranking the volume and firing metal missiles from Dhaka, Bangladesh! Crazy. Oh yeah, it happens that the new album drops today.
Obituary For The Living busts it out old school correct with rampant riffs, shred solos, and guts and gristle vocals. The songs certainly run a bit longer than my more recent short attention span can contend with, but the intensity is so high that I’m not left feeling bored. I may be off base, but I can hear influences of Sacred Reich, Nuclear Assault, Exodus, Testament and the whole core sound of late 80’s Bay area (and beyond) Thrash scene.
Don’t think that this is just a rehash of yesteryear though. The songs are all legit in their own right and writhe and undulate with their own dark energy. If I weren’t sitting at a desk typing this right now, I’d be bouncing off the walls making my own circle pit with the house cats, for realz.
So if you’re a fan of the old school of thrash, do yourself (and the band) a big ol’ favor and checkout “Obituary For The Living” the brand new release from Exalter.
1. Tortured Innocents
2. Surrounded by Evil
3. Sacrificial Immolation
4. Nuclear Punishment
5. Throat Cutters
6. Thrash Resurgence
7. White Phosphorus Shell
UGLYBoNES is a four piece hardcore/thrash punk outfit running out of the Windy City, (Chicago for those of you living under rocks) They’ve got a new album to jam up into your earholes. It’s entitled Growing Concerns and it will crush you.
The release contains 10 tracks, ninety percent of which clock in well under the two minute mark. Rapid bursts of sonic aggression without being over the top ear bleed screamo assault. (totally up my alley as screamo razer vocals are fn lame)
The tracks are all solidly constructed on a foundation of the angst of fading youth. The lyrical delivery is drenched with intensity and the musical accompaniment is fraught with urgency. The overall effect is a cavalcade of pretty rad hardcore punk.
The only downside I can think of is that the tracks have a very consistent pattern of insisting on a slower breakdown segment. Not saying they don’t have merit, but it can get a bit formulaic by the end.
Any downside aside, this band deserves a little bit of your attentions. Go check out their tracks and kick ‘em down some dough so they can continue to rip this shit up.
1. Set Off 01:44
2. PCAF 01:20
3. Not The Same 01:39
4. Obscene 01:17
5. Grown Up 00:54
6. Office Destroyer 00:30
7. SUX 01:20
8. Took Too Much 01:19
9. Bendz 02:25
10. Lazy 01:38
The Crisis Kings are a new band in the old familiar genres of thrash/grind/hardcore metal. Newly formed in 2011, the East U.K. quartet wasted no time in busting out a 7 track EP. The seven tracks do an adequate job of showcasing the band’s skills and for a debut effort recorded in a pig shed, it really deserves praise just for sheer effort.
The music is great. It is aggressive and brutal with overtones of Sick of it All, but tempered with more plodding riffs and screamo / growl vocals in the vein of Superjoint Ritual and perhaps Crowbar. There is also a certain dissonance that I enjoy. This style is especially prevalent on track 4 – S.O.W. the overall effect really reminds me of Leatherface.
However, (and here’s where we bring in the down note kids) As with so many things musical, the major detractor for me is screaming vocals. I just don’t like ‘em. So take that in stride if you’re reading this review. Again, the music lives up to its brutal roots, but takes it over the top with too much throat sandpaper. Seriously man, you’re gonna snap a vocal cord or something.
But, here, check ‘em out for yourself: http://www.facebook.com/thecrisiskings
(c) 2010 Spartan Records UK
There’s so much going on, and so many differences between each track, that it’s only fair to mention (nearly) every one.
Kicking off this, their debut album, is the title track, with an electro intro, leading into a hip-hop (with underlying synths) verse and shouty chorus, I guarantee you will never have heard anything like this before. And it will be a total mind fuck. There’s so many different elements to the one song, but don’t dismiss it yet.
Track two, ‘If I Were You (I Wouldn’t Be Me)’ opens with a very brief piece of acoustic guitar, then it’s straight into the (quite heavy) thrashing guitars. There’s also a creepy keyboard riff, adding an eerie element to the track. Even though there’s not as much going on, it’s still hard to place under a specific genre.
‘Call To Arms’ marks another change in sound, this one’s more emo, but still electro. Think HelloGoodbye meets Taking Back Sunday- cheesy cheerful, but screamo. Adding to this is the piano breakdown and the screamy choruses.
Track four, ‘Apathy Loves Company’ is one of the catchiest on the record. It’s still really odd, but by now you’ll have got used to the sheer weirdness of it all. Track five is more guitar driven, which suits them more, but then it’s back into the crazy mix with ‘Never Bring Your Girlfriend Flowers’- jazz piano under a hip-hop beat. But, somehow, it works. ‘9am: Monday’ is more hip-hop-y, with a emo/screamo chorus.
Then there’s track eight and 10, (‘Now! That’s What I Call Karma, ‘2378’) that are more downbeat and simple hip-hop rock.
As it’s so unusual compared to anything you’ll have ever heard, it’s impossible to really sum it up- so just check it out and decide for yourselves.
But, to recap, Ubermanoeuvre play screamo- electro- hip-hop, with synths- a- plenty.
There’s way too many dashes in that last sentence.