The Soundsphere Magazine Podcast

The Howl And The Hum's Sam Griffiths discusses 'Same Mistake Twice', moving on from 'Human Contact'

#leeds #thehowlandthehum #indierock Dom Smith talks to Sam Griffiths about moving on from the old version of The Howl and The Hum, to form something new, and beautiful on the new album 'Same Mistake Twice'. We talk Sam's personal, and artistic inspirations, and much more.
The Howl & The Hum, the project helmed by Leeds-based songwriter Sam Griffiths, have released the bracing & honest new single ‘No Calories In Cocaine’; the second track taken from the much-anticipated second album, ‘Same Mistake Twice’ which will be released on 6th September via Miserable Disco. A searching, confessional slice of alt-folk that conjures the bleak, lo-fi introspection of Bill Callahan before erupting into Flaming Lips-fuelled synth-pop delirium, ‘No Calories In Cocaine’’s nervous energy and short but sweet runtime belie the struggle, pain and chaos of a tumultuous few years for Griffiths. As a follow up to The Howl & The Hum’s 2020 debut, the awkwardly titled ‘Human Contact’, ‘Same Mistake Twice’ is Griffiths confronting all the monumental and life-changing challenges that have since been thrown his way. From the original incarnation of the band breaking up in front of his eyes to living through the pandemic and wrestling with the uncertainties of a creative future, ‘Same Mistake Twice’ is 12 tracks of Griffiths’ most direct and disarming work to date.
Unafraid to air his anxieties in public, Griffiths explores the idea of image, including the ones we project and the not-so-secret impressions that others have of us, as he ultimately asks of himself; am I a good person? As somewhat blatantly evidenced in ‘No Calories In Cocaine’, the answer is a complicated ‘no’, but the strength behind asking questions like that marks that crucial first step towards redemption, liberation and regrowth. Having worked with like-minded songwriters Elanor Moss and Matthew Herd (Seafarers) alongside producer Joseph Futak (Tapir!, Lilo), Griffiths’ channels the frank, raw energy of the likes of Big Thief and Phoebe Bridgers through the self-reflective candour of country greats such as John Prine and Townes Van Zandt to create a work of staggering musical highs and lows that serves as the perfect companion to his captivating tales of late night euphoria and everyday existential dread. In being honest to a fault, Griffiths’ finds kinship and comfort in the chaos of modern life; because, at the end of the day, haven’t we all made the same mistake twice somewhere along the way? ‘Same Mistake Twice’ is set for release September 6th 2024. Sam Griffiths (The Howl & The Hum) on ‘No Calories in Cocaine’: “
This is a song about the lengths we go to lie to ourselves. It was partially written on the stagger-back from a night out, with some lines taken from actual excuses I had given myself, and the dawning realisation that maybe some of my reasoning wasn’t as solid as I thought.”
Live Dates: 13 NOV | Gorilla, Manchester 14 NOV | King Tut’s, Glasgow 15 NOV | Leeds Irish Centre, Leeds 16 NOV | O2 institute 3, Birmingham 18 NOV | The Lantern, Bristol 19 NOV | Lafayette, London 21 NOV, Muziekgieterij, Maastricht 22 NOV | Luxor, Cologne 24 NOV | Trix Club, Antwerp 25 NOV | Paradiso Tolhuistuin, Amsterdam 26 NOV | Das Bett, Frankfurt 28 NOV | Hole 44, Berlin 29 NOV | Molotov, Hamburg
Image: Stewart Baxter

Fridtjof Nilsen and Kim Nordbæk reflect on SPAN's first UK show in 20 years, 'Mass Distraction'

#span #massdistraction #london
Rock band SPAN return with long-awaited reunion through 2024, including their first and final UK show in over 20 years at the O2 Academy Islington, London.
By arrangement with SJM Concerts and Solo Agency, tickets go on sale this Friday (19 July) at 10am BST via https://tix.to/spanldn. SPAN was widely known for their energetic live performances and catchy rock anthems. They were one of the most popular rock bands in Norway from the early 2000s and dominated live venues and festivals both at home and abroad.
SPAN recently made a comeback with two concerts at Rockefeller in Oslo, both of which sold out instantly. On Monday 23 September, they will play their first and final show in the UK in 20 years at O2 Islington Academy, London. The early 2000s was a golden age in Norwegian rock. SPAN had spent 10 years on the road both in Norway and the UK, when they released their debut album Mass Distraction in 2004. The album went gold in Norway and was well received by both fans and critics. SPAN was hailed as a Norwegian success story with an international appeal. This was confirmed by record deals with Island Records in the UK and Interscope in the US. Mass Distraction was produced by Foo Fighters producer Gil Norton and mixed by Kevin Shirley, who has produced everything from Aerosmith to Iron Maiden. SPAN spent way too many hours in the rehearsal room to become the tightest rock band on the scene. And even though the Norwegian cred-police had their reservations with the band’s lack of tattoos and their stellar work ethic, hundreds of sold out shows with screaming fans spoke for itself. Everyone had their own opinions about the band, and they got a lot of press coverage, both home and abroad, in magazines like NME, Rolling Stone and Kerrang.
After 15 years of sweaty backstages, thousands of miles in the van and too many signed boobs, the band split up in 2005. Now they are doing a reunion through 2024 - and doing their very last round in the ring, ending for good in Trondheim, Norway in October. 
Find out more here: https://www.soundspheremag.com/news/span-reflects-on-first-and-final-european-tour-in-two-decades/

Kyle Scarborough talks helping Bray Wyatt create The Fiend, working with Malakai Black in AEW

#BrayWyatt 
Acclaimed artist Kyle Scarborough speaks to Dom Smith about his music taste, approach to tattooing, and creating the concept for what would eventually become The Fiend in WWE, with his friend Windham Rotunda. Here, Kyle shares some of his favourite memories of working with Bray, and we also get his thoughts on the WWE at present, including Uncle Howdy and The Wyatt Sicks. 
Kyle also goes into the creative process behind more of his work, his opportunities in AEW with Malakai Black and The House of Black + so much more. 
For more on Kyle's work, visit: 
https://www.facebook.com/kyleascarborough
https://www.instagram.com/scarborough.studio/ 

Johnny Stevens opens up about his journey towards contentment via new album, As Above, So Below

Highly Suspect, the trailblazing rock outfit comprised of Johnny Stevens [vocals, guitar], Ryan Meyer [drums, vocals], Rich Meyer [bass, vocals], Matt Kofos [guitar], and Mark Schwartz [keyboards/guitars], are gearing up to unleash their latest opus, LP As Above, So Below. Known for defying conventions and embracing their own sonic instincts, this forthcoming album promises to continue the band's tradition of pushing boundaries and challenging the status quo within the rock genre.With As Above, So Below, Highly Suspect invites listeners on a sonic journey that blends their trademark gritty guitars, haunting piano melodies, and off-kilter synths with a newfound sense of introspection and exploration. This album is poised to captivate both longtime fans and newcomers alike with its raw energy and thought-provoking lyricism.To celebrate the news of forthcoming As Above, So Below, Highly Suspect is unveiling the first single, "Summertime Voodoo." "If my life is a book, then this album is the first chapter that truly addresses the central conflict," says Johnny Stevens. "The recognition of an ego, the problems its caused - and the birth of its death. “As Above, So Below.” If I’m being real, I hit rock bottom again. After another close call with death, I feel wide awake. I don’t know how the book ends yet, but I’m very engaged in the plot now. I’d rather it not end at all.For the past few years I don’t think I gave a shit one way or the other. Like Thom once said - “for a minute there I lost myself.” - “Summertime Voodoo” is the introductory paragraph to this chapter.We didn’t know which song to put out first, so this time, instead of trying to guess which one sounds most like a single, we just decided it makes the most sense to start at the top of the story."
 
In addition to the new track, Highly Suspect will embark on a select series of tour dates across the United States this summer. These highly anticipated shows promise to be electrifying experiences, as the band will play the entire As Above, So Below LP from front to back at these intimate shows. Find more information and tickets HERE.
HIGHLY SUSPECT LIVEJuly 24 - Memphis, TN - GrowlersJuly 25 - St. Louis, MO - Delmar HallJuly 26 - Chicago, IL - OutsetJuly 27 - Flint, MI - The Machine ShopJuly 29 - Detroit, MI - El ClubAugust 1 - Asbury Park, NJ - The Stone PonyAugust 2 - Brooklyn, NY - Music Hall Of Williamsburg

Luke Black comments on his image, the impact of Chainsaws In Paradise, The Eurovision Curse and more

#LukeBlack #Goth #Eurovision 
London based Serbian artist Luke Black releases new single ‘Winter Dahlia’  - it’s taken from debut album Chainsaws In Paradise out now.  An eerie, snaking alternative-pop cut ‘Winter Dahlia’ employs all of Luke’s trademark theatricality - operating at the intersection of symphonic arena rock, and late-night club absolution. The themes it tackles are macro; the titular flower is used as a vehicle for examining climate change, and humanity’s lack of urgency in recognising it, as Luke explains: 
“Winter Dahlia" delicately unveils the poignant anomaly of a flower blossoming out of season, subtly alluding to the impact of global warming and the impending end of the world. The tender bloom in winter serves as a metaphor for our delicate Earth, while the voices of children echo a plea for help from future generations, softly chanting, "hurry up if you want to be saved." 
The ‘Chainsaws' musical era began when Luke landed in London in 2019. Seeking an outlet for a musical drive that felt stagnant and dissonant, he instantly found collaborators in the likes of producers Shurk (Solardo, Zand), Majed and alone.nowhere. Luke developed a creative family in the people he met in clubs and underground gigs in dark, pulsating corners of the city. Though battling negative inner voices, he was quickly inspired by his surroundings, developing a sound and artistic vision that was as expansive as London felt.  
For the creative aspects of the project, Luke has teamed up with Vasso Vu, Furmaan Ahmed and Marija Iva Gocic who have worked with the likes of Ashnikko, Caroline Polachek, PC Music. With them he has built a glossy-industrial image that speaks so directly to his upbringing and poised-pop approach to hardcore music  
Luke would spend nights recording the blueprints of the album in his shoebox studio bedroom - paper thin walls muting his ability to scream his deepest thoughts into the pop-shielded void so forcing him to pivot emotional strife into the hardcore production of the record.  
This element of wrestling with the everyday is vital in the strong bonds Luke has established with his exponentially growing fanbase online, many of whom feel disenfranchised. Whether that’s Shrek watchalongs after the film entered Luke’s referential lexicon, or open-hearted spaces for emotional outlet -  it’s a refreshing and conscious step towards solace and strength in community in an evermore isolating world.  Luke came to wider attention after an exhilarating appearance at the 2023 Eurovision song contest in Liverpool representing Serbia, which caught the attention of NME, Popjustice, The New York Times, The Evening Standard, The METRO, BBC and more.  This was an unexpected opportunity, which kickstarted 6 months of intense work for Luke. An independent artist, he acted as creative director, and effective project manager for the performance, leaning on relationships he’d established since his move to London to study and subsequently work in music.  Not one for doing things the traditional way - Luke’s recent live explorations range from live performances on prime time Serbian TV, supporting GO_A at Indigo @ O2, a  tour in China, to a mind-blowing techno-opera medley at Berghain, as well as a euphoric sell-out shows at The Lower Third and Amazing Grace in London, and a sold-out homecoming show at Dom Omladine in Belgrade. 
Chainsaws In Paradise  - the debut album from Luke Black - is out May 24th. It was written by Luke Black, and co-produced with Shurk; mixed and mastered by Shurk. 
Luke Black Online Spotify / Youtube / Twitter / TikTok / Instagram / Discord / Website  
Live Dates 4 June - Bristol - The Louisiana (UK) 6 June - Manchester - The Lodge (UK)  7 June - London - Oslo (UK)  11 June - Warsaw - Hydrozagadka (POL)  13 June - Helsinki - Kuudes Linja (FIN)  18 June - Vienna - B72 (AUT) 

Julie Christmas and Candiria's John LaMacchia discuss 'Ridiculous and Full of Blood'

#juliechristmas
By the time Julie Christmas released her debut solo album ‘The Bad Wife’ in 2010, the Brooklyn visionary ws already one of the most lauded voices in alternative music. Her piercing pipes, as previously heard in noise rockers Made Out of Babies and post-metal supergroup Battle of Mice, earned critical acclaim. Then, that goodwill was consolidated by her first standalone statement and now she returns with album two. ‘Ridiculous and Full of Blood’, a heart-on-sleeve chapter-by-chapter storybook of the conflicting elements of her own character, is the most comprehensive declaration of this musician’s talents yet, spanning from alt-pop to post-metal with a staggering array of talent onboard. Guitarist/ vocalist Johannes Persson (Cult of Luna), drummer Chris Enriquez (Spotlights), bassist/ producer Andrew Schneider (Kenmode/Unsane), guitarist John LaMacchia (Candiria) and keyboardist extraordinaire Tom Tierney were all paramount in bringing these new, genre-smashing tunes to life.
“I want people to hear the sad heroine, vile villains, dreamy characters at play, squalor, madness, longing, challenge, triumph, beauty, and love” Christmas says of ‘Ridiculous and Full of Blood’. “This story is a little different, it isn't all fairytale. It speaks to how human nature defies categorisation. The kindest person commits immeasurable acts of cruelty, the monster loves their friend. We are all like that.” The words all communicate their core personality’s worldview, extending from thoughts as small as her fascination with birds, to opinions on grand topics like religion and warfare. Even the album’s title was penned as a tongue-in-cheek description of how Christmas views herself. “I’m not evolved enough as a human to hide the way I feel. It’s all in there. Music is the place to put it all so you don’t explode. If you are throwing yourself into life it can and should get wild!” she explains.
Although Christmas took 14 years to make a full-length follow-up to ‘The Bad Wife’, there’s no doubting that this successor is more than worth the wait. Its impossible-to-pigeonhole songs are destined to not only reinforce the love fans already have for this peerless creative; they’ll certainly win over countless newcomers, as well.
Julie Christmas live dates: 26/06 
UK Leeds Brudenell Social Club 27/06 
UK London The Garage 29/06 
FR Clisson Hellfest 01/07 
NL Utrecht Tivoli Pandora 02/07 
DE Cologne Gebaude9 03/07 
DE Berlin Frannz 05/07 
DK Roskilde Festival 09/08 
NO Oslo Oya Festival 10/08 
CZ Jaromer Brutal Assault 15/08 
UK Bristol Arctangent Festival
---
‘Ridiculous and Full of Blood’ track list:
1. Not Enough
2. Supernatural - YouTube
3. The Ash
4. Thin Skin
5. End of the World
6. Silver Dollars
7. Kids
8. The Lighthouse
9. Blast
10. Seven Days
Links: www.instagram.com/julie_christmas_official/ https://juliechristmas.bandcamp.com/

The Sisters of Mercy’s Ben Christo talks touring with the band, Diamond Black and more

#goth #ghostbc #thesistersofmercy
Ben Christo discusses working with The Sisters of Mercy for 20+ years, his love and respect for Chris Catalyst (who he worked with as a part of Ghost), as well as TSOM's forthcoming United States tour, plus solo projects including Diamond Black and more.
Following their triumphant return to North America with last year’s 19-date tour that saw sold out shows in New York City, Los Angeles, San Francisco, Portland, Seattle, plus six other cities, THE SISTERS OF MERCY (TSOM) have announced a run of 26 shows this Fall that include such legendary venues as New York City’s Radio City Music Hall, Los Angeles’ The Greek, San Francisco’s The Masonic and Chicago’s Aragon Ballroom among others. Having not performed in North America in over 14 years, last year’s tour was met with resoundingly deafening praise. OUTBURN said Los Angeles’ Palladium was “alive with the hypnotic sounds of The Sisters of Mercy… an unforgettable night that was extraordinary, and it was one to take everyone’s breath away.” Brooklyn Vegan praised of their sold-out NYC show at King's Theater, “Eldritch relishes the spotlight, and the genuinely adoring crowd ate it all up,” while The Aquarian added about that show, “Eldritch’s voice was a gritty and growling baritone – a fine match for the dark setting.” As recent live reviews have attested, the band’s current lineup is the strongest in years, with Andrew Eldritch (vocals) accompanied by Ben Christo (guitarist, backing vocals, bass) who has been with the band for nearly 20 years, the return of Chris Catalyst (who was previously with TSOM from 2005 to 2019) as duty nurse for the ubiquitous Doktor Avalanche, and Kai (guitarist, backing vocalist) who also leads the British-Japanese rock and alternative metal group Esprit D'Air. An iconic force in underground music, TSOM has been defining, defying and denying numerous subgenres of rock and roll for over four decades. Their unique blend of punk-psychedelia, metal, dance beats and guttural growls has mesmerized the masses for several generations. Add to this a cinematic light show and a set list of huge hits, deep cuts and acclaimed new tunes and you’ve got the recipe for a killer night. Formed in Leeds in 1980, TSOM, while named after a Leonard Cohen song, took inspiration from luminaries such as Bowie, Slade and The Velvet Underground. But their closest sonic bedfellows are The Stooges, Motörhead and Suicide, the influence of which imbued the band with a distinct sound of its own compared to others in the post-punk era.   1987’s Floodland was a massive breakthrough for the band, featuring epic tracks such as “Dominion,” “Lucretia My Reflection,” and, of course, 10+ minute opus “This Corrosion,” all three of which can still be heard on dance floors to date. 1990’s Vision Thing featured a harder, more metal-influenced sound yet retained their trademark drum machine pummel and lyrical ambiguity. The disingenuous nature of the music industry in the ‘90s left Andrew Eldritch with a distaste for the record business, shifting his focus to performing live in lieu of releasing recorded music. Yet, while TSOM have not released an LP since Vision Thing, their popularity and impact has only grown stronger over time, with their erudite rock and roll cacophony influencing countless bands over their tenure.

Samuel Sweek discusses Jeremy Corbyn's Peace & Justice Project, Music For The Many and more

Grassroot music venues are the beating pulse of any music scene worldwide. On the surface, it’s a small, dimly lit room with a stage that creaks with every note, but to artists, it’s Woodstock, it’s the Pyramid stage, it’s an opportunity to project their music to anyone that will listen. As Friedrich Nietzsche once said, ‘without music, life would be a mistake’, so why are we seeing so many venues closing their doors for their final times, and what is being done to help?
Within the last year, 22 million people saw music events in grassroots venues, resulting in it bringing in over £500 million to the British economy. Despite this, the profit margin was a mere 0.2% as running costs sat at £499 million, yet night after night up and down the country, venues still continue to host the backbone of music with no support apart from the love of this sadly diminishing craft.
In April 2023, Jeremy Corbyn’s ‘Peace and Justice Project’ launched the ‘Music for The Many’ campaign to help protect these venues and demand that the government create funding and support to help save the futures of the venues at risk. Music For Many has three demands in order to help secure the future of these grassroot venues:
Have a grassroot venue fund to ensure that all communities have access to opportunities in the music industry.
Tax corporate sponsors of larger music venues.
Invest in grassroots music venues to secure the sustainable long-term futures of the music venues.

Jason Wilsher-Mills on his art, being inspired by his disability, favourite bands

#disabilityempowerment #disabilityawareness #disabilityadvocacy
 
In March 2024, Wellcome Collection will present ‘Jason and the Adventure of 254’, a major solo exhibition by Jason Wilsher-Mills (b. 1969, UK). Showcasing his largest and most personal commission to date, this free exhibition will be a joyful and subversive exploration of the body, drawing on the artist’s experience of becoming disabled as a child.  
Reimagining the gallery space as a hospital ward, Wilsher-Mills’ immersive installation of sculptures, illustrations and interactive dioramas will challenge the cultural and societal perceptions surrounding disability, medicine and the human body. Through a kaleidoscope of colours and a touch of magic realism, the exhibition will also be a celebration of family, his working-class background and the opportunities he received through hospital education, inviting audiences to explore childhood memories and creativity through the artist’s trademark humour.  
‘Jason and the Adventure of 254’ will delve into the transformative moment of Wilsher-Mills’ diagnosis of an autoimmune condition, triggered by contracting chickenpox at the age of 11. Paralysed from the neck down until the age of 16, and unable to physically explore the wider world around him, the artist came to inhabit an interior world filled with action heroes, TV shows, films, comics, books and his own vivid imagination.
The exhibition’s title alludes to 2.54pm at Pinderfields Hospital, Wakefield, on 1 August 1980, when he witnessed his parents being told of his diagnosis at the end of his hospital bed. He can pinpoint this exact moment in time as it coincided with British athlete Sebastian Coe winning the gold medal in the 1500 m race at the 1980 Summer Olympics, which was being shown on the ward’s TV at the same time. In the exhibition, visitors will step into the physical manifestation of this memory, encountering a mesmerising dreamscape where a monumental figure lies in a hospital bed watching TV, surrounded by oversized plastic toy soldiers delivering the virus, inflatable germs that hang in the air and a 30-metre illustrative wallpaper depicting significant episodes from the artist’s life.  
The exhibition will also feature a series of nine lightbox dioramas which distil Wilsher-Mills’ childhood memories of this time, both before and after his diagnosis. Throughout the space visitors will be invited to activate different scenes inspired by his working-class background and his experience as a young person. In ‘Mum as Mermaid’ (2024) the artist recalls a family holiday to the seaside where he imagined his mother as a mermaid surrounded by bioluminescent jellyfish, while ‘Hippo Scare’ (2024) depicts a childhood encounter with a hippopotamus at a zoo in Manchester, which Wilsher-Mills credits with the beginning of his creative awakening as an artist.  
The installation will be supplemented by sketchbooks of pen-and-ink drawings – a practice Wilsher-Mills has returned to for the first time in 30 years – which are then reconfigured in layers using an iPad to become the eventual work. They are inspired by encounters with anatomical studies in Wellcome’s historic collections, which evoked memories of the artist’s own hospitalisation. After the exhibition, the sketchbooks will be acquired into Wellcome Collection.  
Alongside the exhibition, Wilsher-Mills will take over Wellcome Collection’s atrium from 20 May to 8 September 2024 with works from the series ‘Jason and his Argonauts’. This will include his monumental sculpture ‘I am an Argonaut’ (2021). Originally installed in Folkestone and taking inspiration from William Harvey (1578–1657), the Royal Physician credited with the first description of the human circulatory system, the work is a reflection of Wilsher-Mills’ own experience of disability. It contrasts medical imagery with the social model of disability: “the understanding that people are disabled by barriers in society, not by their impairment or difference” (Scope, 2022).
Jason Wilsher-Mills is a disabled artist born in Wakefield, West Yorkshire, now living in Sleaford, Lincolnshire. The son of a coal miner, he is the youngest of eight children and grew up on council estates in Wakefield. He was the first in his family to go to university, and studied painting at the Cardiff School of Art and Design. 

Joe Henley talks fronting Buddhist death metal band DHARMA, and the Taiwan metal and punk scene

#taiwan #deathmetal
Dom chats to Joe Henley (frontman of Buddhist death metal band, DHARMA) talks moving to Taiwan and being part of a thriving metal and punk scene. 
More coming to Soundsphere magazine in the coming days...
https://www.soundspheremag.com/