Grace Bennett and Jade Alcantara made friends online before buying guitars, learning to play them, and becoming the Brooklyn-based fuzz-pop duo Sub*t. They recorded their 2021 debut EP So Green with Bully’s Alicia Bognanno and their 2024 follow-up Spring Skin with Momma’s Aron Kobayashi Ritch, and now they’re getting ready to drop their full-length debut…
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Review by JP Photos by extra special guest Jager Nightingale of Distorted Visions Productions It was another last-minute and spontaneous decision to review this show […]
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The album begins with the voice of a child, creating an unusual atmosphere. This is soon accompanied by haunting guitar work. The tension rises further as distorted guitars enter, leading us into the world of this band with the track “Flat Earth.” From the first song, you can feel vibes reminiscent of Beastie Boys, blended with Bad Religion and Naked City.
Next is “Girlfriend You’ve Changed,” which starts with a sound reminiscent of deep space. A powerful guitar riff quickly grabs attention, intensifying the song’s energy. What I appreciate about this band is its infusion of 90s sound mixed with dystopian elements.
One of my favorite tracks is “Towers Open Fire.” It opens in a direct and acidic manner with fuzzy, intense guitars that envelop the listener. The music transports you to a wild atmosphere, showcasing the band’s instinctual approach, free from any superficiality.
Equally intriguing is “Pliancy,” which reveals another side of the band. This song is more of an alternative ballad with a distinct, rhythmic pulse. For a minute, it takes listeners into a parallel dimension filled with atmospheric richness. Then, it transforms into something almost ritualistic, with chords that build tension and create an epic moment. Eventually, the song returns to a state of magical limbo.
“John Doe’s Blues” follows with a contagious groove that makes you want to stomp your feet to the beat. This track is ideal for a garage party, where the scents of sweat and beer dominate the air.
Another standout is the visionary track “Picaro.” It opens with a jingle that humorously resembles a truck delivering candy. As expected, the song quickly shifts to evoke the familiar vibes of the band. They do not seek compromise; their music remains chaotic and intense, ignoring commercial rules.
The album concludes with “Lazarus Pharma,” which showcases the band’s experimental inclinations. This track offers a truly unique sonic experience, displaying a willingness to break boundaries.
Overall, this band presents an impressive collection of tracks that reflect their fierce dedication to innovation and authenticity in their music. Each song is distinct, yet contributes to a cohesive artistic vision that is both refreshing and original. The album is not just a listening experience but a journey through various moods and atmospheres. It boldly embraces its influences while simultaneously forging a path of its own.
Wild
If you love this music: Discover MoreFor fans of:
Bad Religion • Naked City • Bestie Boys
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Now, this is what I call a festival lineup. FORM Acrosanti, the festival that the band Hundred Waters started in 2014, made its grand return to the Arizona desert last year. That was the first FORM fest since the pre-pandemic days, and it wasn’t a one-off. This fall, FORM Acrosanti is coming back again, and it’s got a truly impressive bill, including headline acts like Geese, Lorde, Turnstile, Adrianne Lenker, Blood Orange, and Kamasi Washington.
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He may have his hands full with this upcoming stint as Twisted Sister’s new frontman, but New Jersey’s own Sebastian Bach is involved in another project, albeit this one has lower stakes, I would say. That’s because he was chosen by ex-Megadeth guitarist Chris Poland’s new project Nuclear Messiah to lay down some vocals on their Uriah Heep cover “Look At Yourself”.
Originally released back in 1971 on Uriah Heep’s album of the same name, Bach said songs like “Look At Yourself” tend to get overlooked.
“Uriah Heep is a band that my dad listened to a lot…that was my introduction to Uriah Heep. Of course the song ‘Easy Livin’’ was a big hit song, but ‘Look At Yourself’ was a deep cut and it also reminds me of Deep Purple a little bit, the sound of it. I love ‘70s rock n’ roll and the fact that Mick Box from Uriah Heep is on this track is incredible. Bob Daisley from Ozzy’s band – I never thought I would record with him so it’s unbelievable. I’m adding the tone of my voice to the song ‘Look At Yourself’ and I’ve added some high harmonies that are not on the original. I’m trying to make it different, but the same. So I hope Mick Box can hear that it’s honoring the original version, but then I throw in a couple of harmonies and screams and what have you!”
Meanwhile, ex-Megadeth guitarist Chris Poland explained how Nuclear Messiah’s album Black Flame stands out as a great source of a good cover.
“The BLACK FLAME record is full of really great songs, but one that really stands out is ‘Look at Yourself.’ It’s the most progressive song on the record and Sebastian Bach’s vocal performance is truly inspired. He nails this tune to the wall in true Bach fashion.”
Black Flame will be released on April 24 via Cleopatra Records, but you can preorder your copy today.
Nuclear Messiah track listing:
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This track opens with a mysterious, almost desolate arpeggio. The voice enters with a prophetic quality, almost whispering. Tension builds until the 35-second mark, where the song shifts. It introduces a rhythm of percussion that intensifies the pace. The artist’s distinct vocal style feels almost ritualistic. This instinctive and primal way of singing unveils the soul within the voice.
The song feels like a journey into the unknown. Its minimalist approach creates a palpable tension. It embodies a folk essence tinged with darker elements. This adds an intriguing richness to the overall experience. One can envision it as the soundtrack for a ghost town. Gradually, additional instruments layer in, like pads, widening the sonic landscape. The music offers an inviting, expansive feeling as it unfolds.
Listeners who appreciate genuine and intense music will resonate with this piece. The overall experience is enhanced by its vivid imagery and dynamic shifts.
The narrative quality of the song engages the mind, inviting various interpretations. It can support a range of personal reflections, whether about loss, yearning, or change. The haunting melodies and rhythmic elements create an immersive experience. The song embodies a blend of melancholy and searching hope.
Fans of David Byrne and Leonard Cohen will find familiarity in this style. The artist channels a spirit akin to both, while maintaining a unique identity. This careful balance creates a rich listening experience for audiences.
There’s an emotional depth that resonates well after the song ends. The journey feels personal and universal, exploring shared human experiences. The percussion towards the end builds a sense of urgency.
The combination of instruments creates a vivid picture in the listener’s mind. It invites visions of open fields, vast skies, and stillness. The rhythm pulls listeners along while the voice guides them through. There’s a cinematic quality to the song that feels layered and multifaceted.
The atmosphere oscillates between tranquility and intensity, making it dynamic. The primal essence in the vocal delivery captures raw emotion. The artist’s authenticity shines through in every note.
Ultimately, it is a song that challenges the listener to think and feel deeply. It is not merely a piece of music, but an experience to be savored. The duality of its themes enriches the exploration of both joy and sorrow. The artist successfully captures complex emotions within a simple framework.
The sonic arrangement speaks to the artist’s knack for craftsmanship. The lingering notes leave a lasting impression, encouraging repeated listens. This is a piece that feels timeless in its execution and emotional delivery.
The concluding layers resonate, reflecting the artist’s masterful touch. Each listen unveils more depth, rewarding those who return to it. This is music meant to be experienced on multiple levels, leading to profound understanding. It is accessible, yet complex, a feat of artistic expression.
Intense
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Reviewed by Sam Jones
Devoid Of Thought made a prominent statement when they released their debut full length, Outer World Graves, back in 2021, and five years on the band finally return for their second and self-titled record. Formed in 2016 and hailing from Lombardy, Italy, Devoid Of Thought wasted no time releasing their first Demo followed by a number of Splits before releasing the aforementioned debut full length. In the interim the band have otherwise been quiet regarding studio material, but fans’ patience has paid off as Devoid Of Thought unveil a psychedelic, amorphous cover in stark contrast to their debut’s dismal and meteoric vista. Slated for release April 24th their self-titled release has been picked up by Unorthodox Emanations where another six tracks of Devoid Of Thought’s signature death metal is on display. These guys have often been on my mind and I’ve been eager for more material. Is the five year wait justified? Let’s find out.
The band have championed a spacey, kaleidoscopic approach to death metal with their debut album yet I feel their self-titled work takes that to another level entirely. With these riffs and songwriting, the band are pushing into nigh-progressive territory as riffs and licks veer into virginal tangents before the band rope them back in for the crux of the track. I liked how Devoid Of Thought aren’t afraid to place you in soundscapes where you won’t quite know what’s happening, as if they’ve sucked all air from the room leaving you gasping for breath and understanding before they throw it all back upon you. There are moments where the band’s aggression recedes, with only the outlines remaining but the void therein is still active, a husk performed as marionette. In this instance the band demonstrate they’re adept in crafting uncomfortable stretches of time that aren’t mere flair but are structurally integral to a track on the whole.
One angle which helps Devoid Of Thought remain unique as how their songwriting doesn’t act the way most bands would approach their extreme metal. You always perceive the band never wanted their sound to feel contemporary and thus were content writing music unafraid to be disliked. I think some could experience this album and simply not understand why the band are going for, because it refuses to sit quietly and provide audiences the conventional experience. This is spacey extreme metal cannibalising itself, Creation’s myriad layers unfolding one unto the other for all time and it knows not how to end because time and space were not designed to end. Through their songwriting, Devoid Of Thought offer a window into what finality sounds like. Typical blocky sounding riffs are utterly absent and whilst tracks undergo sequential succession from verse to chorus to bridge etc, the longevity of such stages, where they’re placed, which coms next or prior, is taken thoroughly out of your control.
The drums are simply incredible here. Firstly they hardly stop for any gasp of air. Whether their drummer is delivering intricately unfolding patterns that only continue to develop and evolve, alternating time signatures offset against riffs and vocals that bellow and paint the light black or with double bass drums thy heave and haul all else asunder to find your senses, the drums are working flat out at every given moment. Many extreme metal records, especially the kind where the songwriting is somewhat experimental, like this self-titled piece, don’t give the drums their due nor implicate them in the technicality their drummer possesses. The guitar work may keep your ears open and on guard for what’s to come yet the drums keep you engaged, rooted to earth, for the band don’t intend on your slipping away anytime soon.
Onto the vocals. You’re not going to comprehend a word uttered. But perhaps that’s for the best since Devoid Of Thought appear to be gunning for a more atmospheric insertion regarding the vocals than putting down lines the audience can follow. Were the vocals absent the songwriting would exhibit something transient, the misshapen miracle of rogue physics, but with vocals in place it summons heinous and nightmare vistas into which mortal understanding ceases. I’m glad the vocals are unintelligible as it enables audiences to delve further willingly into their demonic soundscapes from which fires burn not yet we can find flesh peeling on our bodies. It’s why this record of five tracks, some of them lengthy, race by with surprising pace despite the band’s deliberately intangible songwriting.
In conclusion, this self-titled work is a remarkable insight into where Devoid Of Thought are at and where they may take us into the future. It’s difficult comparing this record to Outer World Graves since although they exhibit similar approaches in songwriting, utilising the space theme, this is by far the more technically and progressively impressive release. The band herein have forsaken all niceties of pleasing audiences and unleashed music they’re happy with that they enjoy. The result is easily one of the more comprehensively unhinged metal releases the year has put forth yet, for while Devoid Of Thought put immense effort into crafting this manic soundscape you’ll still be able to follow along and experience everything the band include in these five tracks. I think it’s a huge moment for the band and deserves to be their breakout instance putting them on par with established acts like Ulthar and Revocation.
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