Artist Bio: Stray ghost mutt making strange noises. Gameboy music meets your favourite David Lynch film and gives birth to broken dreams. Digital ghost guitar screams. Cute/
I caught up with Johnny about his musical project Nightmare Puppy, from its formation to what he sees in its future.
Hugh Puddles circa 2017. Image has been blurred to protect his identity from Brazilian LDR stans.
I’m looking at the artist pic on your bandcamp page right now. Is that the elusive and ever-sought-after Hugh Puddles? Also, how long did it take you to grow that hair out? Is that a pornstache or just a shadow?
Hello heh, yes that was me five years ago. Can’t confirm how long the hair took because I was a hippy flake and never cut it, like, ever. Times have changed and I look like a moody square now, but it was fun while it lasted. The pornstache was and is real. It comes with a beard and lots of good intentions.
Tell us a little bit about how Nightmare Puppy formed. What sparked your desire to make music? What cumulative influences (artist, video game, or otherwise) led to the sounds that we hear on your latest endeavor, Nara Nara Voltsong For Shower?
Artist Bio: Allelic is a vessel of creation of atmospheric and melodically inclined black/folk metal through fictive yet deeply personal conceptual records for the band’s Principal Investigator. The project was born in 2017 in Montréal and is now based in Sherbrooke.
I caught up with Sputnikmusic member lalchimiste about Allelic, their influences, the latest single, and future plans.
While you’re certainly not the first artist to blend elements of folk and black metal, Allelic still manages to sound very unique/distinguishable compared to bands of a similar ilk. I think user reviewer DungeonBoy expressed it best when he wrote, as part of a review for your 2018 debut EP Reverberations, “To label it ‘black metal’ or ‘folk’ would be misleading as the two elements are more intertwined than fused.” How do you view this balance in your music, and is there a specific focus on your part to ensure that both genres/styles get equal representation?
I have always had a strong connection with acoustic guitar and recurringly used instruments in certain folk music be it flute, violin, percussions used as genuine tools for creating an atmosphere and not as a gimmick. Same goes for BM…
I haven’t had what I’d consider a true nightmare in at least a decade. I still have the occasional dream where something happens that makes me upset – perhaps I forget something important, or my car breaks down on the way to a big meeting – but the sort of haunting images that used to cross my mind when I was younger have entirely dissipated. No more shadowy figures standing at the foot of my bed, no more quiet laughter coming from downstairs, no more sitting straight up in bed after some kind of malformed, upright animal charges me in my own bedroom. Generally speaking, most people outgrow those kinds of fears – monsters and ghosts are replaced by adult stressors, and your dreams grow with you by reflecting those concerns.
“That Cannot Be Dreamed” is the closest I’ve come to experiencing that sort of terror again. Don’t get me wrong, it’s an exhilarating terror – but still quite spooky. I’m admittedly not the most well-versed in Blut aus Nord’s expansive discography, or even black metal for that matter, but I’ve heard enough of them both to know “That Cannot Be Dreamed” is exceptional. It evokes the sort of hellish imagery that other bands strive for with twice the effort and half the affect – resulting in an eerily powerful blend of avant-garde metal and industrialized dissonance. Despite the visceral, primitive fear that the song invites, it also manages to be majestic, beautiful, and meditative –…
At the outset of Weezer’s career, The Blue Album and Pinkerton established them as one of the greatest new rock acts of their time. However, a run of six LPs from 2001-2010 saw their reputation tarnished by music that was occasionally good enough, but all too often disappointing. After a decade of mixed results, it seemed that Weezer had adopted a new identity – not one that wanted to please their loyal fanbase, but rather one that used meme-worthy album art and was obsessed with fame.
On the heels of 2014’s Everything Will Be Alright in the End and 2016’s The White Album, it seemed like Weezer had finally reclaimed control of their destiny. However, as with history, Weezer seems to repeat itself. Just as those two albums rekindled Weezer’s magic, we once again found/find ourselves mired in another excessive run of mediocrity. Pacific Daydream, The Black Album, and Van Weezer were all pretty bad, while The Teal Album gets a bit of a pass because it was a gimmicky covers album. OK Human has really been the band’s only post-2016 saving grace, and even that record – while quite beautiful at times – didn’t quite capture the full essence of Weezer. It was like Weezer does the Beach Boys (not that I’m complaining personally), sans any of the grittier punk/rock elements to keep them grounded.
So where does that leave us in 2022? Well, Weezer is embarking upon an ambitious…
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BACKGROUND
Artist Bio: Methadone Skies is an independent psychedelic rock group from Timisoara, Romania. Active since 2009, the instrumental quartet has released 5 full length records so far. Each LP shares its own musical direction, often leaning into stoner, post-rock and doom metal territories. There were never any boundaries set, so each affair is the sum of various influences and constant sonic exploration. Retrofuture Caveman is the latest album, released in May 2021. The LP mainly blends post-rock with stoner alongside doom metal touches. It is perhaps one of the most calibrated and cohesive efforts so far. Although we are not a heavy touring band, we managed to play over 100 gigs in our country and Central-Eastern Europe over the past decade. We shared the stage with multiple bands in the genre such as Yawning Man, Samsara Blues Experiment, Motorpsycho, My Sleeping Karma, Stoned Jesus, Acid Mothers Temple, Toner Low, Stonebride, 1000MODS and Zaum among others.
Genres: Stoner Rock/Psychedelic/Progressive
Band Lineup: Alexandru Wehry (guitar), Raul Stanciu (guitar, E-Bow), Mihai Guta (bass), Flavius Retea (drums, percussion, keyboards)
Here’s a list of major new releases for the week of March 11, 2022. Please feel free to request reviews for any of the following albums from staff and/or contributors.
– List of Releases: March 11, 2022 –
Alex Cameron: Oxy Music
Genre:Indie-Pop/Rock
Label: Secretly Canadian
Angelmaker: Sanctum
Genre: Death Metal/Metalcore
Label: Angelmaker
Blazemth: The Return Of Lucifer
Genre: Black Metal
Label: Xtreem Music
Bodega (US-NY): Broken Equipment
Genre: Indie-Rock/Punk
Label: What’s Your Rupture?
The Boo Radleys: Keep on with Falling
Genre: Britpop/Shoegaze
Label: Boostr
Bryan Adams: So Happy It Hurts
Genre: Pop/Rock
Label: BMG
Cailleach Calling: Dreams Of Fragmentation
Genre: Black Metal
Label: Debemur Morti P
Chemicide: Common Sense
Genre: Thrash
Label: PRC Music
Cryptivore: Celestial Extinction
Genre: Death Metal/Grind
Label: Bitter Loss
The Districts: Great American Painting
Genre: Indie-Rock/Folk Punk
Label: Fat Possum
Drug Church: Hygiene
Genre: Punk/Post-Hardcore
Label: Pure Noise
I caught up with Sputnikmusic staff member Brett Tharp (Gameofmetal) about blending black metal with spaghetti western, Dark Watcher’s 2 EPs, collaborating with Allelic, and more.
Give us the story behind Dark Watcher. How and when did the project start? What obstacles were encountered? At what point did you know it was definitely something you wanted to pursue?
Dark Watcher came about sometime around the beginning of 2019. I was living in Arkansas and going to college. Music had been on the wayside for a while, it had been difficult to continue practicing regularly within a schedule that busy and my creative focus had been turning towards writing in recent years, still doing some reviews and testing the waters on a few short stories. As silly as it sounds, the renewed interest in music coincided with the release of the game Red Dead Redemption 2, which had a really fantastic and often unorthodox score. I think one day I…
I caught up with Sputnikmusic staff member Dewinged about how his band O’Summer Vacation formed and what touring is like right now, all before receiving some very important nuggets of De-wisdom.
Tell us a little bit about how o’summer vacation formed. Is there a story behind the band name? When did you join the group, and what sparked your interest in making noise/math punk?
o’summer vacation goes way back to that time in 2009 when our band’s dear leader mikiiiiii didn’t have money for a guitar, so he bought a cheap bass instead and started jamming with a couple of friends. He was a big fan of the Touch and Go label bands and early 00s math rock by then. For some reason, probably just laziness, the band never got a guitar player, so they started playing gigs as a trio of bass, drums and vocals. I’ve heard the…
“Why doesn’t it get better with time?”, a forlorn Regina Spektor asks God. The two are sitting down at a bar across from a corner deli, beers in hand. You might not have taken God for the drinking type, but it was actually his idea. After encountering her while she was walking home one night, he suggests that the two grab a beer and relax a bit. That’s about where God’s portion of the dialogue ends, however; he strikes up this fun idea, and then leaves Regina alone with her thoughts. “Let the ones who want it bad get all the things that make them better”, she wishes. Then, as if talking to a wall: “Let the ones who don’t care feel a thrill.” You can sense the desperation in her voice growing with each verse. On the other side of the table, an expressionless face stares onward, refusing to respond. “And I just want to ride, but this whole world — it makes me carsick” Regina continues, at this point probably aware that God has completely tuned her out. “I’m becoming all alone again…stay” she pleads. As the camera pans out, Spektor indeed finds herself completely alone again. By the end of the song, the dialogue is reversed: this time it’s Spektor seeking God out, asking him to join her for a beer while singing “It’s awful late…I know you’re here.” No response is given, and he never shows.…
I caught up with Scott Krasman to discuss his ambient project Kannatama, and his debut LP “Hell Debris”.
You’ve been involved in a number of projects, from Dropped Flyer (Trip Hop) and Consumer Death Proposal (Hardcore/Thrash) now to Kannatama (Ambient). What is it like moving between genres with such widely varying aesthetics, and what ultimately led you to your most current project, Kannatama? Do you see one genre as more “you”, are you still searching for your preferred style, or are you just a musician who enjoys dabbling in as many musical landscapes as possible?
I’ve been officially making music since 2011, when Dropped Flyer grew from the influences of DJ Shadow’s Endtroducing. Those EPs were largely created using Audacity and some simple reversing/editing techniques – looking back now, a lot of it comes off as unpolished but ambitious. Some of the tracks on Lowlife are a glimpse into what Kannatama eventually became, especially the opening…
I caught up with Parthan Shiv (SitarHero) about what makes good prog, Top Gun, and the impact of COVID-19.
Telescopium is a pretty interesting band name. Before I researched it and discovered that it is the name for a constellation, I thought it had something to do with telescopes (insert facepalm emoji). How did you come up with that name, and does it mean anything to you beyond providing a sweet moniker for your music?
Ha! We like to joke about how we can tell a whole lot about someone from what they take away from the name; whether it’s the “telescope” part (insert nerdy emoji), or the “opium” part (insert stoner emoji), or whether it’s just confusion at a bloody silly moniker that’s hard to spell and even harder to remember (confusion emoji?).
I caught up with Josh D. of Spieglass to discuss his intimidating discography, his intent as an artist, and the Sputnik community.
You are the sole member of Spieglass, a post-rock/metal project. What have you found to be the pros and cons of being a solo musician? Would you ever aspire to be in a band (or to add other musicians to your project) if the opportunity presented itself?
Of course the best thing about solo work is complete autonomy. The only thing I feel like I’m missing most days is a pro-level mixer/producer. I would love to work with other people, although maybe under a different project/name. That way Spieglass is something I can have as my own, sort of like how Toby Driver has his distinct projects and solo material. I don’t think I’ve actually played…
Hello, and welcome to the second installment in a series of articles observing all things related to the musical past. If you have a suggestion for something you want to see covered in this series, feel free to drop it here.
Video games were always a fun part of my childhood. I remember when I got my first console (the original Nintendo NES) for Christmas sometime in the early 90s, and it was easily one of my favorite presents that I ever received. My family was by no small exaggeration poor, so even as a six year old I knew to temper my expectations when it came to what Santa could fit inside of his bag. Needless to say, the fact that I actually got one blew my mind at the time. Some of my favorite games were Super Mario (1-3), Donkey Kong, and Crystalis (think pre-Zelda for a quick reference to the overall gameplay).
At that age I didn’t think about the music behind the games; it was sort of just there. Now, that classic 8-bit sound is the fastest portal that I can find back to my childhood. It’s a funny feeling listening to songs I have not heard in 25+ years and still knowing them like the back of my hand. Because of the hundreds of hours I spent playing these games, they’re ingrained in my mind, and the music is like a key that unlocks doors to memories I didn’t even know…
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BACKGROUND
Artist Bio: Black/doom metal from the UK formed in 2013 by Joseph Hawker whom handles all the instrumentation, songwriting, performances, artwork and production (unless otherwise stated!). No live shows. Anti-fascist and angry at the world.
I caught up with Joseph Hawker about his sudden ascent to relevance, the emotional impetus behind his music, and his future as an artist.
In December 2021, your album Trisagion received quite a bit of attention. Not only did it receive a glowing review from our own Kyle Ward, but it also placed #24 on the Staff’s 2021 Top 50 Albums of the Year. In addition to recognition on Sputnik, Trisagion received high praise from many other publications, graced the front page of Rate Your Music, and was even a featured download on iTunes’ metal page. How does it feel to suddenly receive this kind of recognition?
It was honestly very bewildering. ‘Trisagion’ was a record I held onto for a very long time and I felt it could have gone two ways –…
While Shinedown’s post-Sound of Madness career has been anything but consistent, they’ve still managed to outlast most of their grunge/rock peers thanks to Brent Smith, who is easily one of the most talented vocalists in the mainstream sector of those genres. His ability to transition from raw, gritty barks to soaring melodic choruses is something special, and for the majority of Shinedown’s existence, it has allowed listeners to overlook some of the band’s other glaring deficiencies.
A lot of folks will be bothered by ‘Planet Zero’s apparently right-winged lyrical content, but the truth is that political affiliation alone doesn’t make a song bad or good. Revealing your political affiliation like a series of low-end YouTube comments, on the other hand, does: [I think we’ve reached the ceiling / They’re canceling your feelings], [Shut the door, say a prayer, kill the lights / Bite your tongue ’cause it might save your life], [Better pray that you’re not erased…On your knees or you’ll be replaced]. It doesn’t take long to realize that they’re criticizing cancel culture, and to be more accurate, beating you over the head with it. You can be for or against these lyrics — that’s your prerogative — but a less meme-worthy set of verses would have gone a long way in establishing ‘Planet Zero’s concept as possessing enough depth to actually convince someone on the other side of the aisle to pay attention. Instead, this just plays out like a poorly thought-out Facebook…
