On this debut EP, The Holy Nothing wield some genuinely enormous riffs. Creating a sound that takes a huge influence from stoner metal and mixes that with a few grungy influences and a pinch of hardcore, their sound shifts between crunchy, sludgy and the groove laden, ensuring this musical trio are often more interesting than your average Orange Goblin, Fu Manchu and Kyuss wannabes.
Welcome back to the Real Gone Singles Bar, the place where we explore the various individual mp3s that have landed in our inbox over the previous few weeks. It’s a place that is not concerned with genre; it can also lead to unexpected finds. It’s somewhere we celebrate stuff we’ve enjoyed, regardless of any usual listening preferences, or visitors’ expectations from our website. The “mixed bag” approach keeps it as interesting for us as it does for you! This week, we bring you some great alternative pop, some timeless sounding Aussie rock, the return of Roisin McCarney, a well loved track re-imagined, and more besides. If you find anything here you’ve enjoyed, please drop by and tell us. Also, if you think you have a new track that would have a place at the Singles Bar in future, please get in touch. We’d love to hear from you.
Released two years after their ‘Ceremony of Suffering’, this second EP from North Dakota’s No Divinity presents a big step forward for the band. Its four songs still feature the huge riffs that their fans have come to recognise, but they’re used in much broader strokes for an increased heaviness. This time out, the band have dispensed with the sub-two minute hardcore blasts, and instead concentrated on their longer, heavier jams – in the vein of ‘Splinter’ – to bring the best out of an intense, crushing guitar sound. More importantly, it comes with some massive production values that help to make their crossover hardcore sound even bigger than before.
On their debut EP ‘Where Life Crisis Starts’, Industrial Puke made a tightly wound noise that took the guts of Propagandhi circa ‘Supporting Caste’ and fused that with elements of classic Discharge and a pinch of Earth Crisis for hardcore goodness. Although brutal, the EP had a little more melody than those influences would immediately suggest, and thanks to a couple of smart arrangements, it was clear that the band were a cut above your average extreme music acts, or any of crust punk’s low budget heroes.
It took underground metal act Naisian five years to follow up their ‘Monocle’ release, but 2018’s ‘Rejoinder’ EP was an amazing disc. In three songs, the band explored a whole world of doom, sludge and angry sounds, often doing more in short four minute bursts than some bands manage over the course of a whole side of vinyl.