Album Review: Igorrr- Savage Sinusoid

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Savage Sinusoid is hands down the weirdest album I have ever heard. Gautier Serre, the mastermind behind Igorrr, was one of the people behind Whourkr which is how I originally discovered him. Their album, Concrete, is a favorite of mine. So, when I realized he was responsible for Igorrr, I eagerly dove into his latest bit of insanity. And I was not disappointed.

Savage Sinusoid is like if someone took Disco Volante era Mr. Bungle, death metal, opera, breakcore, and grind into a blender that was then jammed directly into your ears. There are moments of blast beats giving way to operatic singing and 8-bit dance music.  I think at one point there is an sitar thrown in? The harsh vocals are all gibberish sounds, reminiscent of Adult Themes For Voice era Mike Patton set to music. There is even a nice mellow track, Problem D’emotion, towards the middle that showcases the wonderful operatic vocals (I believe provided by Laure Le Prunenec) and offers a breather from the insanity of the rest of the album.

The complex compositions found on Savage Sinusoid often feature genres that are at odds, fighting each other head on to create magic. One of the major standout parts of the album for me is the song Spaghetti Forever, which opens with some clean acoustic guitar leading into a cool dance beat before diving headfirst into full blown controlled metal chaos. It sounds like something Naked City would come up with if they were all fed acid for a week and then thrown into a recording bender.

Travis Ryan from Cattle Decapitation guests on three of the tracks, providing his unmistakable vocals into the mélange of craziness. Hearing Ryan growl over an accordion is something I never ever thought I would hear, let alone fall completely in love with. Which, I guess, could be said for just about every other sound on Savage Sinusoid. Nothing about this album should work at all, yet it somehow coalesces into one of the most incredible and weird albums I’ve ever heard. It’s even more impressive that there are no samples on the album, meaning Gautier Serre and his guest physically created everything you hear on the album.

Savage Sinusoid is a complete masterpiece. It’s one of the most engaging and demanding albums I’ve heard in a long time and makes me long for the days when I first discovered John Zorn, Mike Patton’s work outside of Faith No More, or Yamantaka Eye. It’s an album you have to pay attention to while listening. Now, I can’t wait to dive into Igorrr’s previous albums and just wallow around in the chaos for awhile.

Savage Sinusoid is out now on Metal Blade Records. You can pick it up on Bandcamp HERE. Physical copies can be picked up HERE via Metal Blade.

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Single Review: Dark Black by Vattnet

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Lineup changes are a difficult and practically unavoidable thing for any band. There are very few bands that can make it 7 plus years without some sort of shake up. Not everyone is cut out for spending 250 plus days a year on the road that it sometimes takes to stay relevant in a genre as finicky as metal. But what do you do when a founding member, especially the vocalist, jumps ship right after a breakthrough album? If you’re Vattnet, you push forward.

After Nicholas Thornbury quit following a tour with Taake and Young And In The Way, remaining members Chris Alfieri, Casey Aylward, and Seamus Menihane restructured and decided to push on, dropping the Viskar from their previous moniker. Casey moved from bass to Nick’s former spot as guitar and vocals, a decision couldn’t have been easy or made without careful deliberation, but it makes total sense (Casey was the singer of a band called Hetfield & Hetfield, which featured about a third of the band Astronoid).

Now, 2 years after the release of Settler, Vattnet has released their first single with the new lineup and the first taste of their new sound with Dark Black. And it fucking rules. Hard. Dark Black is made for driving around town with the windows down and the volume turned up as loud as possible. It’s no longer the bastardized version of black metal of Sky Swallower or Settler, it’s a whole new thing to be fully embraced and just sounds exciting.  The simplest comparison would probably be a heavier version of Circa Survive, but that would be a disservice to Vattnet. It just sounds like rebirith. There is a renewed vigor within the bands sound that leads to some great moments.

Completely devoid of the blast beats or tremolo picking riffs of the past, Dark Black still has a through line from their previous incarnation, and that’s Chris Alfieri’s guitar work. Dark Black’s main riff sounds like the estranged sister of the riff from the Settler track, Glory, and there is even a nice atmospheric guitar part during the first verse that is very reminiscent of some of the interlude tracks from Sky Swallower. There is a clear progression going  from Settler  to their new sound and I feel like this is the direction Vattnet would have ended up two more records down the road if the lineup change had never happened. Alfieri sounds unrestrained and honestly has never sounded better. His playing works well with Aylward’s, creating one of the catchiest riffs I’ve heard in a long time. The main riff throughout Dark Black always sounds like it’s pushing you forward, a propulsion for the whole song.

Casey  shines here as a vocalist and lyricist. His voice is absolute magic and I’m so glad they decided to use him instead of finding a new vocalist. And while I said comparing this new version of Vattnet to Circa Survive was a disservice, it is slightly applicable. While no one on Earth sounds like Anthony Green, I get the comparison. Casey’s lyrics are personal and work really well within the groove of the song. Dealing with being let down by a family member or friends drug use (“Waste your life anyway you like/Dark black is all I’m seeing/It’s nothing but contagious feelings/Drop some more pills down your throat until anywhere feels like home/Then wake up tomorrow and repeat it”), Casey sounds amazing and I can’t wait to hear him in a live setting.

But the biggest takeaway from Dark Black is how much Casey and Seamus bring to the table. I’ve always stated that they were the secret weapon behind Settler. Their interplay together as bassist and drummer created the backbone for that album and I feel was completely underappreciated. But they both shine bright on Dark Black (pun kind of intended). Seamus, now unhindered by blast beats, sounds incredible. He’s always been a drummer I loved, especially his work on My Fiction’s Stranger Songs, and he brings so much swing and drive to Dark Black that it’s hard not to air drum along/ I can not wait to hear what he does on the rest of their upcoming album.

While Dark Black is definitely a stylistic shift for Vattnet, it is a necessary one. They sound revitalized and ready to push forward. And if Dark Black is any indication, the upcoming full length will easily be an album of the year contender.

Dark Black is available now through New Damage Records and can be purchased from a variety of retailers here.

Review Round-up

Since I’ve been busy as of late and haven’t had time to work on reviews as much as I would like to, I thought I would to a handful of quick blurbs about some of the albums I’ve been listening to the most as of late. Also, there will be more Simpsons content in the near future. I plan of suffering through all of the new episodes and reviewing them as the upcoming season airs (please don’t be horrendous). So, be on the lookout for that.

 

Twilight Fauna – Fire Of The Spirit

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Focusing on fringe religious ideas, like snake handling, for example, Fire Of The Spirit is an intense listen. Paul Ravenwood is an anomaly in the world of black metal. No one else writes music like he does. Mixing in acoustic instruments with his usual sonic overload of guitars (I like to refer to Twilight Fauna as the black metal equivalent to Sunn O))), sonically), Fire Of The Spirit is fascinating, engaging, and often times overpowering. The sound clips of people speaking in tongues and snake handling sermons are strange and enlightening and add a nice touch of depth to the music.

Fire Of The Spirit on Bandcamp

 

Gatecreeper – Sonoran Depravation

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Gatecreeper play death metal in the old school vein, and they’re really good at it. The riffs are groovy and not overly technical. They drums don’t rely on blast beats the whole time and have a really nice mid-paced death metal meets hardcore feel to them, sort of like Covenant era Morbid Angel. The nine songs on Sonoran Depravation are always engaging and harken back to the early days when death metal was fun. Also, the song ‘Desperation’ is the circle pit jam of the year.

Sonoran Depravation on Bandcamp

 

Cara Neir/Wildspeaker – Guilt And His Reflection

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This full length split follows one narrative storyline covering both bands sides and is possible the best split release I’ve ever heard. Cara Neir’s unique take on black metal is always refreshing and works well when paired with Wildspeaker’s blackened crust onslaught. Garry Brent’s bass playing is exceptional and keeps the Cara Neir side almost jazzy, while Natalie’s vocals and Ricky’s drums absolutely crush the Wildspeaker side. This is album of the year material. Buy it immediately.

Guilt And His Reflection on Bandcamp

 

Chepang – Lathi Charge

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This is absolutely crushing! I have a huge soft spot for unrelenting grind that is reminiscent of early Napalm Death and Chepang brings the grind in a big, bad way. Featuring 8 songs in just under twelve minutes, Lathi Charge never outstays its welcome. Everything is fast, with just a handful of slower moments to keep things interesting. Lathi Charge is an impressive debut.

Lathi Charge on Bandcamp

 

Green Elder/Pensive Ceremony Split

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I’m mostly focusing on the Green Elder side of this split because it’s gorgeous. Green Elder is the neofolk project from Twilight Fauna’s Paul Ravenwood, and he offers up three of the saddest songs I’ve heard in a long time. ‘Scattering Ashes’ is so morose and beautiful and by the time the banjo starts, I’m in tears. The vocals on ‘Winter Spirits’, provided by Heather L. Galloway-Barker are full of sadness and work to highlight Ravenwood’s simple guitar playing. The wind instruments throughout the Green Elder side are a great touch, as well. The Pensive Ceremony side is just sounds like six different ambient intro songs and I’m dumbfounded as to why they were released like this.

Green Elder/Pensive Ceremony on Bandcamp

 

Crowtein -King Ov The Rats EP

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Crowtein is a powerviolence band inspired by the TV show It’s Always Sunny In Philadelphia, because why not? But unlike most gimmick bands, Crowtien is really, really good. The music is heavy and catchy and the lyrics are hilarious. You’ll find yourself singing along to the chorus of ‘The Dennis System’ (“You’re a fucking sociopath!”) while smashing everything in your house. And let’s be real, the world needed a song that starts off with someone screeching “Waitress, why won’t you love me? Come and see my play.” More of this, please. But first, what is your spaghetti policy here?

King Ov The Rats on Bandcamp

 

Cara Neir – Perpetual Despair Is The Human Condition

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How Cara Neir aren’t more respected and well known in metal circles is beyond me? Their music almost makes me mad at how good it is. Garry Brents (all insturments) and Chris Francis (vocals and lyrics) are genius and have managed to stay vital and interesting even after 15 releases. Black metal can feel very stagnant a lot of times, but Cara Neir always brings something new to the table and Perpetual Despair Is The Human Condition is no different.

Perpetual Despair Is The Human Condition on Bandcamp

 

Sallow Moth – Moss Deceptiva EP

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Garry Brents strikes again! Instead of the black metal he’s usually associated with in Cara Neir, Sallow Moth is death metal with lots of d-beat influence. The three songs offered up feature killer riffs, brutal vocals, and excellent drumming from one of the best musicians in metal today. Also, 90% of the sales Garry makes through Bandcamp go to a different animal shelter each month, so you get some new death metal and animals in need get some  help. Win/win.

Moss Deceptiva on Bandcamp

 

Nick Cave And The Bad Seeds – Skeleton Tree

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Nick Cave released the saddest fucking album of the year.  Skeleton Tree is full of weird, ambient noise with Nick Cave’s lyrics that are incredibly poignant after the death of his son. Nothing else you hear this year will prepare you for how truly depressing this album is. Yet, it’s still truly brilliant and wonderful. It’s like the title track to Push The Sky Away pushed into a weirder territory, spread out over nine songs. This is Nick Cave like you’ve never heard.

Skeleton Tree on Nick Cave’s Webstore

 

Mar – Trust In Nothing

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Mar released one of my all time favorite demos in 2015. Trust In Nothing is their first full length of soul crushing doom. The two piece focus on slooooooooow and raw doom that has a nice punk feel to it. The lyrics are emotional and deal with heavy issues (“These lines aren’t cuts, they’re my map”). Honestly, my words can’t do justice at how good Mar is. I completely adore this band and their music. If you like doom that is slow and heavy, pick this up. I would also love to hear a split release between Mar and Vile Creature to happen sometime.

Trust In Nothing on Bandcamp

 

Vile Creature – A Pessimistic Doomsayer EP

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Following up last years incredible album, A Steady Descent Into Soil, Vile Creature are back with a new slab of emotionally raw and intense doom metal. A Pessimistic Doomsayer is one 17 minute long song that is a natural progression of what Vile Creature was doing with A Steady Descent Into The Soil. I enjoy that Vic sings more on this and her interplay with KW is enormously fulfilling. I love Vile Creature because they wear their hearts on their sleeves and have no problem screaming about the issues they hold dear. Trans rights, gay rights, animal rights, and anti-oppression are their calling card and all things I fully back.  The lyrics on A Pessimistic Doomsayer and raw and thought provoking and are relatable to anyone that has ever felt like an outcast (“We live like cicadas, burrowing for years, avoiding predators. When we emerge, our lives are short, time tenuous, days spent in fear. Craving escape but knowing it will lead to demise is our nature. We cannot see. refuse to believe. We do not submit to corporeality.  Sleep knowing death will come.”). These 17 minutes are emotionally brutal and leave me a wreck every time I listen to them.

A Pessimistic Doomsayer on Bandcamp

Album Review: WEAK by Terrible As The Dawn

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WEAK, the debut EP from Terrible As The Dawn, kicks off with ‘Stains’, a song full of screeched vocals and atonal guitar work that is very reminiscent of the bands I loved (and still do) from the late 90’s/early 2000’s hardcore scene. Especially the ones doing weird stuff, bands like Daughters, Circle Takes The Square, and basically anything on the Three One G label. It’s a sound I adore and was very welcoming upon first listen. In fact, Terrible As The Dawn’s entire sound is a wonderful mishmash of genres I love. Everything from dissonant hardcore to grinding heaviness to indie rock to 80’s goth work together to create a sound that is often times chaotic and spellbinding.
Forming as a way to deal with the stress and emotions of their concurring and separate divorces, Caroline Fukuchi (guitar, vocals) and Stephen Smith (drums, vocals) created a sound that is emotionally brutal. The vocals often sound painful and invoke true emotions as opposed to just screaming for the sake of sounding “heavy”. In fact, WEAK might be one of the most emotionally real and raw albums I’ve ever heard. The interplay of grinding chaos and early Cursive style indie rock works well to counterbalance each other. ‘Dead’, the third song on the album, is the best Cursive song that Tim Kasher never wrote. The spoken word/singing into full blown screech of “all that I want is to find someway…. home!” hits me hard every time I hear it.
The marriage of genres reaches its pinnacle on closing song, ‘Ghosts’. Its fast punk feel crescendos into a heavy and noisy ending that feels cathartic and needed, like something being kept bottled up finally succumbing to the pressure and exploding. It’s my favorite part of the album and a perfect way for the EP to end. It leaves you longing for more.
WEAK is an album designed by conflict. Everything about the music and vocals is epitomized by the idea of conflict. The atonal nature of hardcore fighting against 90’s indie rock. The screeched vocals fighting against the clean singing. It’s all conflict, and conflict is something that is universal. Everyone deals with it and Terrible As The Dawn have recorded the perfect sound to help deal with those feelings of depression and anger that might result from any conflicts that happens in your life.

TATD live

You can pick up a digital copy of WEAK from Terrible As The Dawn’s Bandcamp page HERE!

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Otto’s Band Of The Week

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Hailing from Bombay, India, Death By Fungi play a form of melodic hardcore punk that has completely captured my attention in the last couple months. Taking influences from bands like Shai Hulud, Propagandhi, and some of the more metallic parts of Converge, their four song EP, In Dearth Of, is a scorcher. Featuring fast hardcore riffs and vocals backed by some great metal influenced drumming, In Dearth Of  is young and angry hardcore done right.


“There’s no going back now, we’ve come to far to leave this all behind us”

DBF

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Album Review: A Forest/Siamese Twins by Curezum

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There are few bands in the world that affect me as much as The Cure. Their songs, even when played by other bands, always hit me very hard. And if you can make one of their songs translate well into metal, you will forever have a place in my heart. Portland, Oregon’s Curezum are one of those bands that have firmly rooted themselves into my chest cavity and permanently set up residence. Following their One Hundred Years/The Top single last year, they’re now back with a new single. This time putting their black metalled twist on A Forest and Siamese Twins.
Now, there have been a lot of covers of A Forest. It’s usually a go to for most metal bands as it’s one of The Cure’s more popular songs and has a dark, goth edge to it. Originally from the Seventeen Seconds album, most bands fail miserably at covering it and it’s a song I’ve been adamant on bands ceasing covers of. Most of the metal covers I’ve heard of A Forest tend to just sound like a band that doesn’t totally like The Cure or maybe are covering it as a “hey! we’re a metal band covering a non-metal song!” scenario. It never works and always feels goofy or forced. Curezum on the other hand have absolutely crushed it. Their version has such an attention to detail and true love for the original that it shows in their work. The underlying bass and drums (Billy Anderson and Martti Hill, respectively) work incredibly well playing that all too familiar backbone to the song all while remaining heavy, even incorporating some blast beats into the mix. The guitars (Mort Subite) are incredible at their balance of playing fast and heavy while maintaining the melody and overall goth tone of the original. Everything crescendo’s perfectly into the “and again and again and again and again” part towards the end. It’s so satisfying. Curezum may have made me change my mind on metal covers of A Forest, at least until I hear another terrible power metal version.
The B-side song, Siamese Twins from the Pornography album, is hands down the best thing Curezum has done so far. The first time I listened to it, I couldn’t stop smiling. I really love that both singles from Curezum so far have been set up like a real Cure single, with a more popular song (One Hundred Years and A Forest) as the A-side, while the B-sides have been lesser known songs (The Top and Siamese Twins). Featuring a much slower approach that A Forest, Siamese Twins is an absolutely perfect cover. Its doomy approach adds to the heaviness of the lyrics (“Leave me to die/You won’t remember my voice/I walked away and grew old/You never talk/We never smile/I scream/You’re nothing/I don’t need you any more/You’re nothing”). The middle section has a really nice blast beat (courtesy of Eight Bells drummer, Christopher Van Huffel) fueled fast part that adds a brutal touch to the song and sounds intense when put against the slower parts of the rest of the song. The cover is a midpaced headbanger and I’m sure will be a huge staple of any live shows Curezum plays. Songs from Pornography are pretty metal friendly as the album is really harsh (compared to everything else in The Cure’s discography) and bleak, but Curezum just takes it to a whole new level. The vocals (by perfectly and mysteriously named Robert Vikernes) are especially fitting on Siamese Twins and makes it sound wonderfully evil.
Each song on the single features a guest appearance, Matron Thorn of Ævangelist playing lead guitar on A Forest and the aforementioned Christopher Van Huffel of Eight Bells. If you’re a Cure fan and a metal fan, do not skip on this. It builds on what Curezum did with their first single and just makes it better. I can’t wait to hear what they do with their full length down the line.  I know it will be incredible. Curezum are doing exceptional things, and in the long run, hopefully turning people on to The Cure.

You can pick up the A Forest/Siamese Twins Single from the Static Tension Records Bandcamp page HERE! There is a digital download and a pretty awesome physical package that includes a shirt, cassette single, three pack buttons, a signed postcard, and trading card for a very cheap $20. Limited to 50 so grab one quick!

Album Review: Air by Astronoid

Air

There is a moment a little over halfway through Astronoid’s first full length album, Air, that is so gloriously beautiful that I can’t help but smile when I hear it. It’s like experiencing the Aurora Borealis localized entirely within your kitchen, but unlike Superintendent Chalmers, you bare witness to it in all of its glory. The song is called ‘Tin Foil Hats’ and it’s a wonderful mix of fast black metal-esque riffs, pop melodies, and gorgeous vocals singing lyrics about clouds and the sun. If there was any justice in the world, it’s a song that would be a monster hit during the summer, with kids blaring it through boom boxes while enjoying themselves in the Springfield Pool-Mobile.
Astronoid are an anomaly in the world of metal; A band that can straddle a fine line of being really fast and heavy while writing killer hooks and catchy melodies. They’re reminiscent of current era Cynic, but with more metal riffs and a lot less prog. The vocals are light and airy (pun intended) and fit nicely over the astounding guitar work on display throughout Air. The guitar work is maybe the best I’ve heard all year, if not the last decade. There are riffs upon riffs upon riffs in ‘Up And Atom’ (with “at ’em” spelled A-T-O-M in a delicious pun) that will have you screaming out “jiminy jilickers!” The three guitars work together well without overbearing each other while also being different enough to make sense.
Most metal fans have probably already logged onto alt.nerd.obsessive and logged their complaints about how Astronoid aren’t metal or that the clean vocals aren’t metal and whatever else metal fans like to complain about. But if you’re open minded and S-M-R-T, there is a world of amazing music to discover in Air. ‘Resin’ is a fast paced banger than will make anyone air drum along to the incredible drum work. ‘Homesick’ is one of the best pop songs I’ve ever heard, buried in heavy guitars. The closing track, ‘Trails Of Sulfur’, features unrelenting drums and some of Brett Boland’s more dreamy sounding vocals. All nine tracks on the album are incredible. It’s really hard to pick out specific moment as almost every song features some of the best musicianship I’ve ever heard. Air is like a coffin and each song is a nail, burying you in beauty.
So, the next time you feel like life is just one crushing defeat after another until you just wish Flanders was dead, put on Air and let it’s beauty and heaviness wash over you like acid, but be careful because the goggles, they do nothing!

You can pick up Air from the Blood Music Bandcamp page HERE! You can also hear their previous albums on the Astronoid Bandcamp page HERE!

You can follow Astronoid on Facebook HERE!

Otto’s Band Of The Week: Astronoid

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Massachusetts metal band Astronoid is this weeks band spotlight. Forming in 2012, Astronoid’s music is beautiful, heavy, airy, and often times features dense, extraordinary guitar work. Sounding like a mix of Coheed & Cambria, Alcest, Sigur Ros, and some of the heaviness of Jesu and Cynic, Astronoid are unique and definitely stick out in the metal scene. And with their newly released full length, entitled Air, Astronoid are setting themselves apart even farther.

Air is a masterpiece of thrashy riffs and pop melodies. The vocals are beautiful, the drums are heavy while not being overly blasty, and the three guitar attack creates a dense layer or some of my favorite riffs of the year. Released on Blood Music, Air is a must listen. It also features a song called ‘Up And Atom’, and this site is always into a band that uses references from The Simpsons!

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You can pick up Air from the Blood Music Bandcamp HERE and the rest of Astronoid’s dicography HERE!

Follow Astronoid on Facebook and Twitter.

 

Eye On Springfield with Natalie Kahan of Wildspeaker

eye on springfield

Wildspeaker have very quickly become one of my favorite bands. Their take on hardcore, with a healthy bit of black and doom metal and crust thrown in for good measure, has found a place in my weekly listening rotations since discovering them. The blistering heaviness of Survey The Wreckage has become a stand out and easily one of my top ten favorite hardcore albums of all time. This isn’t hyperbole. I connect with Wildspeaker and what they stand for on a deep, emotional level. And one of the biggest reasons for that connection is because of their vocalist, Natalie Kahan. Her vocals are ferocious and captivating. But her lyrics are what really struck me. Focusing on the idea of nature over humanity and the atrocities humans have committed against mother nature, her words mean a lot to me.

Natalie is also a huge Simpsons fan. I’m very pleased that she took the time to answer these questions and can’t thank her enough for what her lyrics have done for me.

 

What is your history with The Simpsons? Do you remember the first time you saw the show?
My first memories of watching The Simpsons begin around age five. When my older sister, brother, and I ate dinner with our parents we would insist my dad roll the TV near the table so that we never missed an episode. I remember at first my parents were iffy about us watching it, but, needless to say, their resistance was futile.
Who is your favorite character?
This is a sadistic question when you ask me to narrow it down to just one. I don’t have a singular favorite, but I do consider one to be a personal best and overall funniest.
I have had an especially soft spot in my heart for Mr. Burns since I saw the “Rosebud” episode with his teddy bear Bobo. I also love “The Old Man and the Lisa” where he is rendered useless when he goes grocery shopping with the “Ketchup? Catsup?” incident. After the Little Lisa Recycling Plant is introduced we see that Burns isn’t all badly intentioned; he just can’t help his evil tendencies getting the better of him. It’s so mischievous and cute to me.
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I admire Ned Flanders and Monty Burns in similar ways. I think they’re some of the most interesting characters when you acknowledge their childish tendencies. Flanders is relentlessly positive, but I love to see when his hilarious temper flares out. Flanders is a lovable punching bag, forgiving, patient, and resilient on his good days. But in his rough moments he is judgmental, furious, anxious, annoying, and stubborn. I’ve probably never laughed harder than at the moment he meets his Canadian Doppelgänger in “Midnight RX.” Here is a link to a 10 minute loop of their nonsense conversation for your pleasure:
 I also love Milhouse so much I named my kitten Millie after him.
Do you have a favorite episode(s)?
The Treehouse of Horror series tops them all. I have probably re-watched and quoted Treehouse of Horror V more than any other episode. Treehouse of Horror VI has got to be my second favorite. In “Homer³,” where Homer and Bart travel into a 3D dimension is the most memorable segment of all time for me.
The Simpsons has a wide array of guest stars. Do you have a favorite?
While regularly watching, the ones I was most stoked for were Blink 182 and N*sync. Kelsey Grammar takes the cake with Sideshow Bob though. Paul McCartney’s appearance was tremendously important to me because it normalized and shed a positive light to the public about vegetarianism.
mccartney
One of my first exposures to vegetarianism and feminist ideas was through Lisa Simpson. Has the show ever introduced you or influenced some of your ideals?
I can relate every single aspect of life to the Simpsons. Its attitudes and humor definitely had hands in shaping my outlook. Laughing through difficult times is probably the most important life lesson anyone could ever learn.
Who from the world of metal would you love to see guest on the show?
Metalhead comedian Brian Posehn would be a good guest if he hasn’t already been on the show.
What character would you be most excited to find out was a fan of your work?
Really any of them would be awesome. I think Comic Book Guy would be most likely to come across our music on a Magic the Gathering forum somewhere.
Do you have a favorite musical number from The Simpsons? Also, what band would you love to see cover said song?
I’d be stunned if I got to hear Blackbird Raum or Pale Robin cover Lisa’s union strike song from “Last Exit to Springfield.” Lisa’s voice gives me goosebumps in that one every time I hear it. “We Put the Spring in Springfield” from “Bart After Dark” is so good it even won an Emmy. I’d enjoy hearing Haley Reinhart and Postmodern Juke Box put their spin on it. She and the band do insane covers of pop songs in big band arrangements.
I’ve always thought Lisa Simpson would be the one character to end up getting into punk or metal. Who do you think will grow up and discover metal or punk?
I could see Lisa getting into Food Not Bombs volunteering for sure. I imagine she’d get down on Plan-it- X Folk Punk like This Bike is a Pipe Bomb and all the classic Riot Grrrl bands. If I could meet her, the perfect CD to burn for her would be Xrayspex’s “Germ Free Adolescents” because it’s feminist punk and most importantly features a saxo-mo-phone.
I think Bart would dig West Coast 80’s hardcore like The Adolescents or party music like Agent Orange. It was funny seeing him as Johnny Rotten and Nelson Muntz as Sid Vicious in “Love, Springfieldian Style.” (Also I am a huge Buzzcocks fan so I loved that they were included in the soundtrack there.) Comic Book Guy would definitely dig Powerglove.
Do you still watch new episodes of the show? If not, do you remember what made you stop
watching?
 I never really stopped watching, but I definitely slowed down because jokes started to feel more forced or were lost on me. I will watch whatever comes onto Hulu but I won’t typically go out of my way to seek it anymore. I did enjoy a few newer ones like the Lego episode “Brick Like Me” and I was pleasantly surprised with how the “The Simpsons Guy” Family Guy crossover turned out. I thought it would be a mess but I’ve re-watched it several times.
How would you like to see the series end? Any ideas on where you would like to see the family end up?
The saddest part about this question is admitting that I want to see it end. It’s had a massively successful run but unfortunately at this point it’s run out of gas. I have read rumors that it might end on a Christmas episode so that it brings the show full circle. This end would be bittersweet but I’d be pleased by it.
Simpsonsgame
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Otto’s Band Of The Week

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It’s very, very rare that I will check out a band based on a “For fans of” recommendation, but if one of those bands is The Cure, I will almost always at least give it a listen. Luckily, Dead Register was promoted to me as “Neurosis meets The Cure.” While that’s a bit of an over exaggeration, I was pleasantly surprised by what I heard.

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Dead Register, from Atlanta, Georgia, are a post punk, goth, doomy three piece that could easily appeal to anyone into Joy Division, Hum, or Jesu. As opposed to The Cure reference, I’d describe them as what A Perfect Circle covering Wavering Radiant era Isis might sound like. They’ve perfected a sound that is heavy, sad, melodic, and often incredible moving.
The trio are set to release their first full length, Fiber, on May 6th. The six songs on Fiber are wonderful and features some of the best gloomy post punk songs this side of the 1980’s. The vocals are full-on Ian Curtis worship and work really well with the often heavy guitar and bass work. Lyrically, Fiber is described by the band as “Centered around the dynamics of human relationships, particularly those of love and loss.”
Fiber is up for pre-order on Bandcamp right HERE. It’s completely enthralling and fantastic, full of somber melodies and gorgeous drum work. Fiber is highly recommended if you like rad music.
Fiber is out May 6th through AVR Records .