Yet whilst many other acts in their shoes would be currently clambering out of such obscure caverns, the darkness and shade of where they currently stand seem to suit the band fine, thank you very much. Comprised of two strictly anonymous members with seemingly ex-lives in the math and post rock scene, Overrider are essentially an enigma and an anomaly both in terms of their creative approach and presentation; factors that allow them to be a product of deep intrigue by those loyal to the deepest chambers of the scene in which they inhabit.
A self-proclaimed product of nocturnal productivity and sounding like “shoegaze x breakcore, but with the attention-span of The Dillinger Escape Plan”, Overrider tread the line between fervent electronica and introspective post-rock. Whilst this isn’t an entire a new proposition – with artists such as 65daysofstatic, Luo, Clipping, Three Trapped Tigers and Fuck Buttons already mastering the sound – what separates Overrider from their peers musically is their execution.
Firstly, the band utterly reject most social media, with Instagram and Bandcamp being the only ways to communicate with the duo in any way. Secondly, released at the height of the pandemic last year was Cyc|er, the duo’s debut and a record that had it’s genesis lie in semi-random algorithmic composition. Instead of being crafted traditionally, the record was cultivated through various pre-generated textures prior to being completed with additional instrumentation and mixing. Yes, whilst this somewhat sounds like a lifeless ordeal, the record was anything but creatively sterile. Deeply contemplative and highly unique, Cyc|er served as a bridge between computable design and unquantifiable creativity and was an introduction to a band most unorthodox.
It’s been approximately a year since the release of that record and clearly the past twelve months have been a time of productivity of the band. Overrider may still harbour a staunch anti-social media mindset but this month saw the band unveil two avatars encapsulating their sound created by the legendary designer Boneface, popularised by his work for CRX, Queens Of The Stone Age and the Hotline Miami, No More Heroes and Deadpool franchises.
Tailing this first initial look at the band was the quiet release of their brilliant second effort The City Eats The Stranger // The Sky Eats The City. Made available for free download via their Bandcamp and featuring inclusions from Cleft’s John Simm and mastering from Tom Peters of Alpha Male Tea Party the record saw the band pulling a full creative 180 by creating the record entirely by hand. Authentically deep and rich in substance, it was a process that let the them to further organically incorporate elements of breakcore, glitch and urbanist jungle in order to authentically depict the existentialist horror of trying to live a fulfilling life in a world of chaos whilst the jaws of the void of the unknown beyond lie in wait. But even with band successfully navigating a drastic change in approach, Overrider still have one final release forthcoming. Releasing September 3rd is Kill -9 Yr Idols, an EP in the form of contrastive and unused material that explores the nature of computer space in relation to natural space and the liminal parallels the two share.
Related: Overrider – The City Eats The Stranger // The Sky Eats The City | Album Review
With the The City Eats The Stranger // The Sky Eats The City out now and Kill -9 Yr Idols releasing this week, we got in touch the band that reject social media to learn more of their unorthodox approach, their creative approach and movements lie behind the digital veil of their design.
A supergroup comprised of members of such esteemed artists as Enslaved and Ulver, DROTT are an enigmatic and spiritual band for an age where the population at large has lost contact with the metaphysical realms. Now the trio’s latest single ‘Arch Of Gloom’ – the latest track to be presented from their forthcoming LP Orcus – is the perfect guide back into the world in which we have collectively lost access to. A deeply esoteric and alluring tapestry of world, prog, post-rock and pagan folk, ‘Arch Of Gloom’ as a whole piece is hypnotic, possessive and surreal in it’s decadence. With Orcus set to further soundtrack the planes of spirituality and superstition upon it’s release on the 24th of September, DROTT are a voice from beyond that many will be captivated by. – Dan Hillier
An ode to all the narcotics and chemicals that help us though the toughest times of our lives, the latest single from Brutalligators is a massively relatable offering of brilliant power-punk that’s bound to resonate with everyone who has turned to the coffee press in times of heartache. Showcasing the band’s self-stated post-youth sound, ‘Coffee & Codeine’ is a brilliant mash up of sonic qualities reminiscent of bands such as PUP, Nervus, Bong Mountain, The Hard Aches and Worriers that’s delivered with a distinctive UK tang, served with a bittersweet aftertaste and leaves notes in your mouth nostalgic of a cherished youth that’s long gone and faded. – Dan Hillier
Jacked up with retro arcade sounds and chopped up idol pop vocals, Paledusk deliver a batshit insane wallop of chaotic dance-core, which is nothing unusual for them but for first time listeners it may be a lot to take in. There’s method in the madness though, as the new single ‘Black Ice’ delivers groove and dancability in droves, alongside a healthy dose of arm flailing, spin kicking, mosh ready heavy noise. There’s a big future ahead for Paledusk if they keep this energy up, and by all evidence from live footage of the band they’ve got an endless supply of it. The band signed to Greyscale records not so long ago, with every intention of bringing their high intensity presence worldwide, so make way, cause Paledusk are dropping in hot. – Elliot Grimmie
It’s been a while coming, but one of the best names in the UK scene have finally returned – and what a majestic return it is. Coinciding with the announcement of their signing to eOne, the now transatlantic entity Rolo Tomassi are back with their awe-inspiring new single ‘Cloaked’. The group’s first material since the release of their universally lauded 2018 record Time Will Die and Love Will Bury It, ‘Cloaked’ is an immediate and breathtaking submersion into the ethereal and mystical waters the band have long called their home. Constructed around a juggernaut of a post-metal riff and bolstered by a glistening atmosphere of both acrimony and celestial splendour, ‘Cloaked’ is an example of what Rolo Tomassi do best; blurring the lines of torment and ecstasy to offer a soundscape that defies genres and labels. With a new record sitting on the horizon, this is yet more proof that there truly is no band like Rolo Tomassi. – Dan Hillier
Oakland post-metal greats Kowloon Walled City have finally returned from inside the walls with their first new music in six years; ‘Oxygen Tent’. The band have long been driven by the desire to create their own singular vision of sound; it’s yielded two critically acclaimed records so far in Container Ships and Grievances and with ‘Oxygen Tent’, the band continue to hone their craft and distil it even further. We start on shaky ground, drums and sparse guitars creating an atmosphere of nervousness with bass that provides an occasional rumbling counterpoint. When the climax of the song comes, though, it comes together as solidly as concrete. – Will Marshall
After winning hearts the continent over with their irresistibly delightful debut Lovecore, Brighton indie-math poppers Orchards have returned beaming with a brand new single titled ‘Leave Us Here (We’re Fine)’. Driven by the sweet harmonies and sleek math-rock fretwork, the single is yet another sun-and-salt blessed lick of musical charm that guises the band’s grounded and personal lyricism. A musical take down that see’s the band kicking back against scene stereotypes with both grins and laughter, this is another effortlessly lovable and catchy jam from a band that explores weighty themes in a way that’s vividly colourful and haplessly infectious. – Dan Hillier
TesseracT have been a progressive metal force in the UK music scene for the last eighteen years, constantly pushing the boundaries and raising the standards as to what progressive metal can be. Utilising intricate atmospherics alongside heavy, groove laden riffs to create incredibly complex and mind blowing compositions. When the pandemic hit many bands were forced to adapt to a ‘new normal’, making it hard to record and create music let alone playing live. As for TesseracT the pandemic did little to get in the way of the band’s cohesion, as they have always been band that worked remotely until recording and touring time. Whilst their output was dampened somewhat, they used the time to reflect on their musical journey and where they wanted to go next, all this was channelled into the creation of their current cinematic magnum opus PORTALS. Amos Williams (Bass) gave up his time to discuss all things PORTALS and how the band pulled off one of their most ambitious projects to date.
With an intensely passionate performance over two hours, TesseracT take you on a musical cinematic journey unlike anything else. When asked what it was like to be performing as a band again after such an extended period of time, Amos stated;
“It was certainly cathartic. Considering the level of uncertainty we were going through, it is a wonder that we managed to pull it off.”
The project itself is ambitious in every sense of the word, which suits TesseracT perfectly. Fusing elegant narrative cinematic passages with a vivid and mesmeric light show, PORTALS presents a visually stunning experience. This medium gave the band to solely focus on the task at hand, as a result delivering an unforgettable performance. Utilising their director and production team heavily included within the stage design process, the band could achieve their vision for PORTALS.
“We have always had lofty ideals, and ambitions. And this format, even with all the limitations that the medium applies afforded us with the means to achieve many of those goals. To create the ultimate show without concerns of setup times, or travelling on to the next show. We could focus solely upon this one event for the time it required, and not one show of 30 or 40 on a run. Many bands have used this pause to do similar things with great effect, perhaps the only difference between our show and many others was the technical and cinematic approach. Having the production team all sit around a table and discuss their requirements very early on in the process. Including Richard (Director) in on the stage design process so we could design with a frame in mind.”
Just as the visual aspect of the performance is meticulous, the audio production takes this up a level. Many have remarked on how phenomenal the singles (‘Nocturne’ and ‘Tourniquet’) have sounded. This is all down to Alec “Acle” Kahney’s meticulous and phenomenal attention to detail.
“Acle has a very meticulous approach. You could argue that he spends too long on things, but you would be wrong! Perhaps a less nuanced approach would do just fine, but when compared I feel Acle’s sonic vision and his steady thorough approach will always take things to that next level. He not only listens to the parts and how best to make them shine, but simultaneously envisions the whole, and then chooses which element of each instrument is best to hear when heard as an ensemble. It’s a difficult process, but one that makes TesseracT sound like TesseracT.”
Having spent the last few years grinding away at their craft, this act have buried themselves deep into the heart of the country’s alternative music scene. Having become a notorious name in the DIY community, a group of four friends have won the hearts and minds of fans from all corners of the UK with their uniquely blended brand of song-craft.
Meet I Feel Fine, a collective of musicians who can tug on the heartstrings of even the most stoic of listeners. Carrying their trademark four part harmonies and every present gang vocals, the south-east four piece exploded into being with the release of their debut EP Long Distance Celebration in 2018, and it’s been a heart-wrenching ride ever since. There’s something that invokes a warmth with every note played and every syllable shouted, and as the band have grown both collectively and as individuals, their music hasn’t just developed – but swelled in size.
Already tantalizing fans with two new singles from their impending release, I Feel Fine are back to deliver their message, and word is spreading fast. With lead singles ‘SelfSame’ and ‘Elemenohpea’ receiving high praise from a wide array of critics, the bar for the band’s debut full length The Cold In Every Shelter has already been set at a high benchmark. Both tracks are refined, yet keep every ounce of their authenticity. With a mellow yet excitable energy that can fit any mood, The Cold In Every Shelter is shaping up to be a hidden gem that needs to be revealed immediately.
We were fortunate to sit down with the guys to catch up on all that’s been going on since the first EP, the inspiration behind the record and what it’s like sharing a label with Gallows.
Nathan (guitar/vocals): “More than a minute, that’s for sure.”
“We had quite a bit going on after the EP came out in May ‘18, so the timeline gets a little hazy for me. There was a separate single we released a year later, but even before that got recorded I’m sure I already had two of the new songs at least close to finished.”
“Not that we were giving too much mind to an album at that point. I’d say that discussion got a lot more serious once the shows around You Know Where I’m Hiding were out of the picture. So call it mid-2019. We even took a band holiday in the Belgian countryside for the best part of two weeks that Summer to crack on with it, if you must know.”
Nathan: “For sure. It’s basically exploring this idea of feeling uncomfortable in spaces or situations where a vast number of people appear both settled and satisfied. Key word being “appear”.”
“It’s a mindset I found myself slipping into a lot when writing the words. When we assess other people and attempt to measure them against ourselves, we do so because we’re not self-assured. And through that lens almost everybody else can seem to have it much more figured out than we do. But that lens is tarnished, and you can bet we all have one. I’m certainly trying to fall back on my own far less often these days.”
Antoine (drums/vocals): “Nathan is the man with the vision here, he usually creates the skeleton for each song but afterwards we’re all very involved in how everyone’s parts are created around it, we’ve got the tendency to obsess over every note and transition, which makes it a slow but satisfying process. I think all of us are also very attentive to how the songs work together and we try to keep them as varied as possible. Something we’re particularly happy with this record is the addition of extra instruments (organ, piano, strings), which is something new and exciting for us.”
There is so much that now falls under the metal umbrella that would have been laughed out of clubs decades ago, and Gost is here for it. The dark synthwave phenom has wooed the metal community with a blend of shadowy electronic music with elements of black metal and gothic metal a la Type O Negative. Finding new footing from outlets across the sphere, Gost (aka James Lollar) spoke with Noizze about how his music bridges the divide between two worlds, and how the toxic environment of political discourse reminds him of the Salem witch trials, all while describing the method behind the writhing and oh so macabre danceability of his new record, Rites of Love and Reverence.
Related: GosT – Rites of Love and Reverence | Album Review
Lollar: “I’m not really included in the electronic community. I’m really much more accepted by the metal community. I don’t really get to see that side of things much. I’ve tried to get in with the more post punk and coldwave shit but it doesn’t really happen. Metal people like my music so that’s sort of where I’ve stayed.”
Lollar: “I think it boils down to horror movies. My music has a lot of elements from 80s horror movies and metal and alternative people love horror. Maybe it taps into a nostalgic part of them.”
Lollar: “I love late 90s early 2000s teen movies, stuff like The Craft and Clueless. I pull a lot of inspiration from stuff like that for sure.”
Lollar: “I’ve always had a conflicting taste of loving the heavier and darker, but also loving pop music. Darkness always finds its way into my music, but adding the pop elements is more work for me, actually. The new album is very stream of consciousness. I just sort of let things happen the way they were going to for it. The older records, I had a much more focused idea of what I wanted to do, but here I just let it flow creatively and I didn’t feel like I had to map it out as much. But I’m definitely in a place now where I feel I can create more freely. It keeps me so inspired. I dread writing at first, but when I start, it all goes away.”
