Parting – Unmake Me | Album Review

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Parting - Unmake Me

Today will be different
Today will be the same
The same can be different
In some weird kind of way

The ironic thing about Parting is that Unmake Me feels like coming home. The self-proclaimed “original emo revivalists” display the return of Keith Latinen (Empire! Empire! (I Was a Lonely Estate)), Ben Hendricks (Annabel), Gooey Fame (Dowsing), and John Guynn (Hawk & Son) asreturning flag-bearers of the genre. This isn’t fifth wave emo, but rather an evolution of your older sibling’s favorite bands from high school.

“Jesse Eisenbird” shows off a more refined version of Latinen’s voice while detailing the death of a family member between intricate, complementary guitar work. While the genre is known for making listeners feel things, this introduction to Parting breaks hearts and leaves one begging for catharsis.

While it feels cliché to call artists mature, “Ratt Michards” candidly recounts how the grueling life of nine-to-fives leads to depression. Despite this not being too crazy of a take, Latinen and Hendricks’s harmonies carry the notion over a driving bass line that teases the necessary catharsis needed after “Jesse Eisenbird”: “Knowing you need to change / is easier than / making changes.” You can almost hear the college crowd drunkenly belting this one back from the pit.

“Stapler’s Monster” slows the tempo for Parting just to show their strength as songwriters. After two solid, hook-laden songs, dueling vocal lines allow room for more vulnerability before our revivalists jump back into the hooks with “After the Fact” and “Maybe He’s Blinking When You’re Blinking.” The penultimate track, “He’s Obviously Beekeeping Age,” shows a more experimental, patient, electronic side of Parting. Think Jimmy Eat World’s “Pass the Baby” meets the trumpet fare of early Foxing.

Again, Unmake Me’s sequencing shines in this setup, laddering up to the catharsis of “Living Proof.” Like a feather floats to the ground, the gang vocals that kick off the denouement of the record are begging to be sung at the end of a late night. Yet it’s Latinen’s final words that bring us the closure so desperately needed after careening through the previous songs: “I’m living proof / of carrying through.” After what’s been a handful of rough years for myriad peoples, Latinen’s lines will hit home no matter what your background is.

Parting arrive just in time for the party, as though everyone was anxiously awaiting them. Then, immediately after the last note rings, they bow, leave, and make you wish they never left the stage. Unmake Me’s 18 minutes aren’t enough time with Parting, but you’ll want to flip this record right over and play it again after that final guitar chimes.

Joe Wasserman is a high school English teacher in New York City. When he’s not listening to music, he’s writing short stories, playing bass for Save the Robots, or loving his pug, Franklin. You can find him on Twitter at @a_cuppajoe.

Returning to Completion - An Interview With Coaltar of the Deepers

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When is a work of art finished? Rembrandt spoke to this question when he said, “A work of art is complete when in it the artist has realized his intention.” It’s a question that I keep coming back to as I listen to Revenge of the Visitors, the new(ish) album from Japanese shoegazers Coaltar of the Deepers. The album is a re-imagined spin on the band’s 1994 debut, The Visitors From Deepspace, featuring the original members. So, after twenty-seven years, why has Coaltar of the Deepers felt compelled to rework the album? 

The Visitors From Deepspace was, and still is, a triumph of shoegaze. It helped set the foundations of the heavy shoegaze popularized by bands such as Hum and Deftones by incorporating elements of death and thrash metal as well as the anthemic hooks of alternative rock with shoegaze’s ethereal textures. Traditionally, artists reissue an older album with a remastered mix and add some bonus cuts or commission other artists to remix the songs in their own image. Coaltar of the Deepers eschew this path in favor of tinkering with an old work in the hopes of making something new. Segments of songs have been altered through both addition and subtraction. Sometimes the edits are slight and require a keen ear to notice, but a select few are striking in difference from the 1994 versions. It’s a risk to attempt something like this. By altering the past, the band could easily take away from the infectious energy of The Visitors From Deepspace, but I am here to tell you that Revenge of the Visitors is a resounding success. 

Within seconds of hitting play on Revenge of the Visitors, the difference between the two albums is clear. As you would expect from twenty-seven years of technological advancements and artistic development, the most noticeable change is heard in the album’s sound. The drums benefit the most from this improvement as each hit rings, distinctly amplifying the frenetic pace that is kept throughout the album. The original vocals are often straightforward and struggle to stand out from the loud guitars, whereas the new renditions are elegantly layered, resulting in a fuller sound. Revenge of the Visitors finds the band leaning into their love of metal. 

In regards to production, the changes between the two albums range from subtle to sweeping. Their thunderous death metal cover of The Cure’s “Killing An Arab” is punchier, and the new distorted growls of lead singer NARASAKI bring to mind the gurgling bellow of Mortician’s Will Rahmer. “Earth Thing” and “Summer Days (Revenge)” each replace clean vocals for harsh shrieks giving the songs sick yet pleasurable twists that keep them fresh. The most prominent omission is the decision to remove the ska horns from “Blink (Revenge).” It’s a wise choice as the brass sound feels dated and out of place from the rest of the album. The closing track “The Visitors (Revenge)” is the furthest departure from its counterpart, ditching what was once an abrasive hardcore song for haunting psychedelic ambiance.

Revenge of the Visitors is an improvement on The Visitors From Deepspace in many different ways, but it’s also a new experience. The band understands that the energy and passion in the performances is what makes their debut great, and they have heightened these strengths through thoughtful and precise edits. It takes courage for an artist to trust their vision and alter a work that many believe to be complete and magnificent. Coaltar of the Deepers are teaching us a lesson in trust, and Revenge of the Visitors is a 27-year-old reminder that a work of art may never be as complete as its audience sees it.

I sat down with NARASAKI, lead singer and guitarist of Coaltar of the Deepers, to discuss recreating songs, getting the band back together, and diverging from artistic expectations. 

More often than not, bands decide to just reissue an album with a new mix to the sound, but you have gone in a different direction. What led you to revisit and re-imagine your debut album, The Visitors From Deepspace, as Revenge of the Visitors? 
First of all, regarding this release, it is important to have early members do live gigs now, and since a new album was needed for the overseas tour, those members re-recorded the first album. We had a hard time because I thought it was impossible to make a retake that exceeds the original.

Following up on the previous question, some of the songs feature significant changes from their 1994 versions. For example, “The Visitors (Revenge)” is a haunting ambient track where the original is an intense hardcore song. How did you decide which parts of songs would be altered?
There is no doubt that this song was, and still is, an improvisation that everyone records as a jam. Both the 1994 version and the 2021 version are about 20 minutes in total, but it is an excerpt from that part. This time, the same theme as last time was included, but it was never used. This sound is used to signal that the VISITORS have already invaded.

One of the most exciting things about your music is how you incorporate different genres and sounds to create something truly unique. Regarding your songwriting process, are you making a conscious effort to blend genres, or is it something that just happens naturally?
I wasn't messing around naturally; I was trying to do something strange. Because at that time, I thought that uniqueness was the identity of the band. Music around the early ‘90s had a genre called crossover, and this album was influenced by it.

I sometimes feel that shoegaze bands can be overly somber and serious but, your music is very anthemic and whimsical. Do you feel that this is a fair assessment of your sound?
Yes, I do. I'm familiar with shoegaze as a genre, but I was originally a hardcore punk band, so it's better to do an aggressive live performance. Isn’t it funny doing that shoegaze sound with a deformed guitar with a sharp head in the first place?

It’s clear that your sound is inspired by alternative rock and shoegaze, but some of my favorite moments on Revenge of the Visitors are the flashes of death and thrash metal. Who are your influences when it comes to the harder metal side of your sound?
I like fast and heavy metal sounds. At that time, a grindcore band called Terrorizer was a favorite. On the contrary, I have hardly heard heavy metal that is light and has a melody in the song.

Heavy shoegaze has become very relevant the past few years, with newer bands like Greet Death and Narrow Head making strong albums as well as established veterans Hum making a fantastic comeback. Do you associate yourself alongside bands such as these? 
No, I don’t think so. But I like those bands, they all have great sound. I think we are not allowed to enter any frame. We are always trespassing LOL.

While Coaltar of the Deepers has been consistently active the past few years, this is the first full album since 2007. Do you have plans to release more music in the future?
I'm thinking of a new attempt, and I'm already recording it. I think it will be released once it is organized.

Connor lives in San Francisco with his partner and their cat, Toni. Connor has an MFA in creative writing and is working toward becoming a community college professor. When he isn’t listening to music or writing about killer riffs, Connor is obsessing over coffee and sandwiches.

Follow him on Twitter or Instagram.

Someone Once Told Me 001 – Nicole Boychuk (I Hate Sex, Illustrator)

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In the first few bitter cold months of the past, wretched year I found myself chatting with a friend about how much we mutually disliked Midsommer (2019). After sharing a couple laughs over the half-baked plotline, we started to steer in to more vested conversation (the kind where one walks away learning something they will always keep with them) where I was first told something I would think about each day after: "Your friends are your future".

The above-mentioned friend-in-conversation is Nicole Boychuk. You may know her from past project: I Hate Sex, or her series of illustrations on Instagram, or on a much more personal level lucky enough to call her friend.

Whatever the connection may be, and for whatever reason you may be here reading this; let me be the first to welcome you to Someone Once Told Me. Short-form conversations with artists and creatives about the best advice they've ever received. 

 
 

Alex Couts: Let's start with some history. Who told you this advice and how do they fit in your life? Where were you when you received this advice?

Nicole Boychuk: The advice came from Nicolas Field, who I met through the community after seeing his band La Luna in 2013. La Luna was the first time I had ever seen someone who looked like me playing aggressive music and having that admiration and inspiration from Vanessa Fever (Vocals in La Luna) compelled me to do the same.

Over time, due to the remote nature of Alberta, IHS and La Luna formed a strong touring bond with one another, sharing each others' cities weekend after weekend and being perpetually inspired by the community they were experiencing and the art they were creating.

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Eventually, La Luna moved their operation to Toronto and Nicolas and Vanessa became a part of the beloved New Friends Fest. In 2018, IHS was able to play their final show as NFF headliner. After flying in a couple days ahead of the rest of the band, Nicolas and I were on our way to the airport for them, discussing future endeavors and ambitions.

absorbing the luxury of the moment, Nicolas mentioned in passing "Your friends are your future" while talking about the insanity that we were even able to be there--doing music at such a complete level--entirely because of the steps we had taken in one another's lives.

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That is what caused me to think more about what had happened entirely leading up to where I was in that moment. That there would never be any possibility of doing anything like this without the engagement of friends. Fully understanding the weight of the connections and people that you will meet, and how they will inform the steps you take to the different places in your life.

I need to mention this isn't networking or some business connection, this is about seeking the company you keep to be there to build you up and help you grow due to the love that they are there to show you. It's about finding the people in your life that will mean the most to you and working hard to keep them there.

 
 

A: Noting that IHS is much a past part of your life, how do you find yourself applying the advice forward in your life?

N: IHS is a closed chapter of my own life now, that has its own fondness and nostalgia, so the phrase takes on a new meaning for me than it did in that moment when I first heard it.

I think of it as a measure of mindfulness, returning to it most when watching the shallow performance of social media unfold in front of me most days. I see people engaging with others across platforms, with clear intentions of their statements and actions being only for personal gain.

There's a lot of concern coming from people to be strongly individualistic, and present that forward as much as they can through platforms. From my view, it would seem like we could all learn to be better to one another if there was effort to be less individualistic and focus on connecting with people in whole ways and be able to look back on things with sentiment.

This interview for example; I am not thinking about this as "Alex is going to write about me and my band and then so many people are going to read it and the art is going to be so much more popular," .. I am thinking about waking up tomorrow morning being happy that we got to spend this time together to talk about something meaningful and sentimental we share with one another and be that much closer because of it. There is a rather simplistic nature to it all, and the value of the moment in connection and what that adds to the foundation of our relationship is much more important to me than whatever may become of this piece.  

A: You drew the intentions of this series right out of me. The whole reason I started this was to create focused opportunities to have engaging and meaningful conversations with friends, strangers, and whoever else has something to share. I'm not here for personal gain, and the goal of putting better advice into the world is only secondary. Maybe it's selfish, but I mostly want to hear what my friends have to say about their life experiences. SOTM is just a catalyst to have that conversation.

A: Who needs to hear this advice? What kind of resolve do you imagine this bringing to someone hearing it for the first time?

N: I think people exploring new creative ventures, especially those with a method of exchange in some way, would benefit from hearing this the most. Especially after this past year, people will need this idea re-enforced after being so distant from one another, and not having as immediately apparent feelings of community and friends.

It hasn't been as easy to see the little red strings that connect us through everything this past year.

A: red strings?

N: Like a PI mapping out their investigation. Think about it this way: if one of us is at the top of the mountain, whatever accomplishment that is, everyone that was involved or we experienced in getting there are the stones that lead us up the path. I'm thinking a lot about Tim Richard right now, who was like IHS's secretary.

... the I Hate Sex-cretary..

A: nice.

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N: We would spend eight or so hours a day together through classes in university, which is how we came to know one another and he came to be involved with the band. He was never an "official" member, but IHS would have never been what it was without his efforts. He put together promo materials, did merch, came to countless shows, helped us out with places to sleep. We would have never survived as a band if it weren't for the kindness and love that Tim showed us. If that relationship never existed, none of IHS would have been known for what it is.

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A: Let's wrap everything here together with one last present, future outlook: how has this advice influenced how you live and interact with others?

N: I think the way the advice has impacted me is putting value in the connections and the little red strings that connect all of us, and create something bigger than any of our respective individuality.

Lately, I've been hard at work putting together a discography release and have learned that the process is leaning on those past relationships more now than ever. Feeling much as if there is no reason why anyone should be helping out with this, but finding that they are because of the cemented and personal natures of our relationships. There are so many people out there in the world, some I've never even met in person, that are willing to give parts of themselves to this effort.

It's been a gift to realize so fully that the people you surround yourself with, and have made it into your circle, are there for a reason. They are choosing to be there to share their kindness and love with you because of the love that you have shown them, and that beauty is so needing to be appreciated.
I made a tweet earlier this year (and then probably deleted it) during a rougher time that read something like: "there are people in your life who put up with your shitty existence for whatever reason, you need to thank them for that."

A: retweet.

I Hate Sex was a screamo band from Edmonton, and Nicole Boychuk is the bleeding heart of meaningful connection that anchored the group's sound over the years. As written in the sacred scripture of skramz and needs to be remembered now more than ever: "skramz is for friends, but there is no happy here"

Someone Once Told Me is a collection of conversations with artists and creatives about the best life advice they have ever received. Our logo is by Nicole Boychuk and my name is Alex Couts and I'd love to hear what you have to say. Drop a line on Twitter @VirusesForFree or just shout profanities at me from a moving car. Both are equally effective. 

Niiice. Kiss 2020 Goodbye with Explosive New Single "$20 Mints"

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This one took me by surprise. Minnesota rockers Niiice. are well known for their hard-hitting Midwest emo tunes and always-entertaining internet presence (Twitter account #3 still going strong!), but what they deliver on their new single “$20 Mints” is a refreshing new tone for the group. Don’t let the compact package fool you; Roddie, Sage, and Abe make a hell of a statement in just one minute and twenty-four seconds.

The tune kicks off with overlaid guitar feedback and a wonderful sample of Michael Scott at his financial rock bottom before it quickly breaks into form with crunchy strings anchored by a tom-heavy drum beat. This dark and full-bodied sound fits perfectly with the lead vocals, which soar over the heavy but restrained instrumentals. Before too long, the sound starts building in volume and intensity, then explodes into a ferocious chorus featuring some phenomenal screams from Roddie. As quickly as the song gets going, its climax comes quickly and transitions directly into a swift ending. “$20 Minds” is a tune with no fat on its bones; it’s a great show of a band committing, throwing themselves at a track, and burning through it.

Despite its unexpected style, “$20 Mints” isn’t a brand-new song, as evidenced by the live recordings of it that date back as far as summer 2018. The song’s namesake comes from a marijuana-rich tour through Chicago with fellow Minnesotans Harper’s Jar, who put out a fantastic single “Ode to Space Lady” earlier this year. The fact that “$20 Mints” has been rattling around in the band’s toolkit for a while suggests that this may not be a complete shift in direction for Niiice., although it’s a welcome addition to their impressive output as of late. Only a few months off the heels of their LP, Internet Friends, “$20 Mints” contributes a slow and heavy sound to Niiice.’s catalog that I’d definitely encourage everyone to check out. The band keeps their edge while delivering a perfect slow-burn that blows up into one of the best barnburners of the year so far. When live shows return, this will be a song to go absolutely nuts to, and I for one, can’t wait.

Jack Hansen-Reed is an avid music fan from Omaha, Nebraska with a passion for all things DIY. In his free time he enjoys sticking it to the man, cheering on the Cubbies, and drumming in indie-americana act Bearwithus. Send him any music recommendations on Twitter at @jhansenreed.

Finding Balance Amidst Chaos - An Interview with Portrayal of Guilt

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Photo: Addrian Jafaritabar

Photo: Addrian Jafaritabar

Content Warning: This article discusses themes of self-harm and suicide.

It’s very easy to get hung up trying to describe the sound of Portrayal of Guilt. Is this hardcore? Perhaps it’s black metal? Could it even be screamo? Ultimately, these questions are merely distractions because all that really matters is that the music is straight-up brutal. The band is adept when it comes to infusing their caustic fury with elements of hardcore, black metal, harsh noise, even ambient, and their sophomore LP, We Are Always Alone, is a perfect distillation of this collage. 

“The Second Coming” kickstarts the album with dizzying riffs and thunderous blast beats that prop up Matt King’s throat-shredding snarls. In just thirty-three seconds, the song shifts to a refrain that is indebted to screamo before a coda of eerie ambient sounds wraps up the track. In just one minute and thirty-nine seconds, Portrayal of Guilt is able to deliver a thesis of who they are as a band; they make music that is intense, loud, challenging yet rewarding, and most importantly, downright evil. 

The album is a document displaying how Portrayal of Guilt has grown as a band. Let Pain Be Your Guide, the group’s debut album, drew the blueprint of what was to come; it’s a hardcore album that dabbles with foreign sonic textures. We Are Always Alone finds Portrayal of Guilt in a state of balance as its influences come in and out of focus, serving the songs with efficiency. 

It must also be noted that Matt King’s lyrics are incredibly sharp on We Are Always Alone. While at times challenging to decipher due to his visceral shrieks, King’s songwriting explores themes of despair, pain, and death. “My Immolation” tells the story of a person who is dissatisfied with their life and resorts to burning themself alive in their house. King examines this sorrow with unflinching clarity singing, “I’ve never felt so alive. / My vision fades away as I watch my skin and bones melt / away and turn to ash. / This is where I belong.” It’s a bleak and harrowing sentiment. While many of the songs could be seen as suicidal, King is in no way glorifying self-harm; rather, he is analyzing the emotional and mental anguish of a person struggling with such thoughts.

These lyrical motifs help to bolster the sonic menace created by the band, resulting in a listening experience that is taxing yet gratifying. Portrayal of Guilt brings a lot to the table; the lyrics are dour but sharp, and the instrumentation is abrasive and exhilarating, this allows listeners to view their work from myriad angles. Personally, I was introduced to the band from a metal perspective, and I found the genre tag to be fitting. It’s exciting when a band can be embraced and shared by fans of multiple scenes. While the group might not be a crossover act in the traditional sense, they are a band that moves between subgenres without alienating fans. No matter how you view them or what genre you ascribe to Portrayal of Guilt, all that matters is how hard We Are Always Alone rips.

To get a sense of where the band is coming from, we spoke with Portrayal of Guilt’s singer and guitarist, Matt King.

The band’s genre and sound always seems to be a hot topic when you are being talked about. With the release of We Are Always Alone, it’s easy to see why people are so interested in this discussion as the album features elements of black metal, hardcore, harsh noise, and ambient, yet you have previously stated that, to you, Portrayal of Guilt merely is punk. What does it mean to you to be punk and to make punk music?
Punk, in my opinion, means having complete artistic freedom, where no preconceived rules or ideas exist. Creating something out of nothing based solely on what you enjoy and completely ignoring any thoughts or opinions on the outside while holding nothing back. Just genuinely doing you. That's just my first thought. We're not trying to please anyone, we're just having fun and doing what we want to do, no exceptions.

As a follow-up, what do you think of fans’ discussion of your genre and sound? To me, it shows the band’s versatility and appeal.
I think it's funny as much as it is interesting to see what people think about what we're doing. None of it matters, though we appreciate anyone taking the time to listen to us and give their thoughtful opinion. Call it black metal, hardcore, whatever. None of it is taken into consideration.

Many of the songs on We Are Always Alone are longer than those on previous releases while also seemingly pulling from more genres than before. Was this a conscious effort on your part to go longer and diversify your sound, or was it more of a natural progression?
It was 100% natural progression. Personally, my attention span is so short I can't even get through longer songs as a listener, so the fact we were able to put together a 4+ minute song is pretty incredible.

Your lyrics are often bleak and brutal, featuring themes focused on depression, failure, pain, and suffering. When it comes to constructing a song, do you write lyrics to serve the sound of the music, or is the music meant to serve the anguish depicted in the lyrics?
The lyrics are written and then altered to cater to the music when it comes time to record, though those are two completely separate things.

Texas has a rich punk and metal history. Do you see yourselves as descendants of previous Texan bands and scenes? If so, do you draw inspiration from any of these bands, and is there a certain amount of pride in being known as a Texan band?
No, not really. I can't say we were ever embraced by the scene here, but that might be by choice. We have made a point to follow our own path, although we have massive respect for the Texan bands before us. We will always claim Texas, of course. That's where we're from.

We Are Always Alone was released by Closed Casket Activities, but you also operate your own label, Portrayal of Guilt Records. What made you want to start your own label? What can we expect from future releases?
It has been a goal since we started to operate as a band and as a label, where we're able to release our own records as well as records for our friends and affiliates. We're working on creating our own realm. I only started taking the label seriously as of a couple of months ago, but you can expect multiple cassette and vinyl releases down the line from those friends and affiliates. I'm looking forward to seeing how far we can take this idea.

The album was recorded during the pandemic, and the idea of the “pandemic album” seems to be discussed ad nauseam, yet it holds some merit as every person is affected by the pandemic. Is We Are Always Alone a response to the pandemic in any sort of way?
Not at all. We wrote this album months before the idea of an upcoming worldwide pandemic existed, although it was recorded at the beginning of the lockdown in our area. Perhaps that had an effect on the energy presented within.

With touring postponed for the foreseeable future, are you pivoting to other methods such as livestreams in order to promote the album?
I don't really like the idea of a livestream, personally. We recorded and edited a video of ourselves playing a few songs recently, but even then, it was nowhere near the same energy as a live show. We'd prefer just to wait it out. With no touring going on, it helps us focus on writing for more upcoming releases, which we have planned for the rest of the year.

Connor lives in San Francisco with his partner and their cat, Toni. Connor has an MFA in creative writing and is working toward becoming a community college professor. When he isn’t listening to music or writing about killer riffs, Connor is obsessing over coffee and sandwiches.

Follow him on Twitter or Instagram.