Send More Paramedics, Possessor, Prolapse AD

The Dome

London, UK

October 31, 2021

Let me kick this piece off with a little bit of backstory... 

On Halloween 2020, mid pandemic, zombiecore thrash metal legends Send More Paramedics posted a single poster on their site. Simply showing a decomposing hand reaching up from the grave with the words Halloween 2021 written along the bottom. This got fans of the band intrigued and before long rumours of a possible reanimation were circulating. After leaving us speculating for a few months it was announced that Send More Paramedics will be exhumed from their graves to perform a handful of live shows to mark 20 years of the bands reanimation and subsequent first gig concluding on Oct 31, 2021. They would be playing the venue BOOM! in Leeds on Fri 29th and Sat 30th Oct finishing at The Boston Music Rooms in London on Sun 31st. Tickets went on sale in spring this year and due to an overwhelming demand another date, Thurs 28th, was added to the venue in Leeds and the London venue was upgraded to The Dome in Tufnell Park. We, the fans were working ourselves into a frenzy to see the undead four piece live for one last feast before we all got too old to be thrashing about in the pit! So much so I don't think the band themselves realised just how much they had been missed as rumour has it they couldn't quite believe how quickly the dates had sold out. Send More Paramedics originally called time on their career back in 2007, reforming briefly in 2014 for a couple of record company anniversary shows, again in Leeds and London, so it had been a good 7 years since they last played together as a band. I suppose that's nothing compared to the fact that their last studio album The Awakening was released 15 years ago. In between releasing the tickets for this year’s anniversary shows and the gigs themselves SMP completely surprised us all by popping into the studio and recording a brand new album! The Final Feast was self-released on their Bandcamp page in September of this year and gave us 9 new tracks to devour, dissect and familiarise ourselves with in time for the upcoming shows.

The build up to these shows had been growing and before we knew it the dates were upon us. As the first 3 shows took place at the same venue they decided to mix things up by having different support acts every night. They were joined by Block Out The Sun (metalcore), Disstraxx (punk), Eye To Eye (melodic punk), Slimelord (doom metal), Pest Control (crossover thrash), and Video Nasties (horror-based black ‘n’ roll) for the Leeds dates and Possessor (metal) and Prolapse AD (thrash) for the London show.

Early reports of the Leeds dates were incredibly exciting, especially for myself as I was only attending the London Halloween show. This was to be my first live gig for over a year due to Covid and all the restrictions. Even though things had lifted a bit over here in the UK I was reluctant to go to any shows prior to this as I wanted my first show back to be a big one! I was not disappointed! One of the things I love about this band is the fact they dress up like the living dead and encourage their fans to do the same. Pretty much every SMP  show I have attended I have zombied up proudly and this was no exception. In fact a good 75% of the crowd had dressed up for this last show. The Dome as a venue is pretty spacious for a mid-sized building (but unfortunately cursed with a high ceiling for reasons we will come to later), however they took the necessary precautions for the current situation which was reassuring.

The atmosphere was one of excitement and nervous anticipation but the swift arrival of the first act, Kent based 4 piece Prolapse AD soon got the crowd going. Their thrash/death metal with a comedic twist was a cheerful start to the evening. With politically charged song titles like "Dump Trump" and "Pigfucker" making way for other fun titles such as "Black N Decker Pussy Wrecker" complete with a visual aide in the form of a dildo attached to an electric drill (Drilldo??!!) just in case you were unsure of the songs content. Ending their set with the hilarious and very catchy "Digging Up Your Mother". They were a great band to kick the nights entertainment off with. Given a little time to digest Prolapse AD 's impressive stage presence and fast paced set it was time for the second support act. London based sludge/stoner/thrash metal band Possessor took to the stage. This 3-piece band had embraced the fact the it was Halloween with singer/guitarist wearing a glow in the dark skeleton top and their bassist wearing a very fetching floaty dress, which I must say really brought out the colour of his eyes! They produced a varied and tight set of experimental/melodic metal reminiscent of Mastodon. Song titles include "Coffin Fit" and "Notting Hell". Their banter in between songs started off a little awkward but they got more talkative towards the end with the guitarist handing over his instrument to the audience to finish off their last song. 

The time had come for the main event and soon the stage darkened as 3 silhouettes twitched and shuffled their way onto the stage. As "A Crushing Tide" from disc 2 of The Awakening (2006) crackled over the PA, El Diablo took up position behind the drums, Medico grabbed his guitar and X.Undead donned his bass... but where was B'Hellmouth? This question was soon answered as the unmistakable lament of "Braiiinnnnnssss!" was soon heard over the chatter of the crowd and the towering figure of the vocalist came lumbering through the crowd drawn toward the stage. Having found what he was looking for balanced on the drum riser, he grabs the severed head (prop of course) and chows down on some fresh brains before kicking off with crowd pleasing familiar opener "The Hordes". The set from there just nailed it the whole way through. Kind of split into 2 parts the main bulk of the set was a great mix of top tracks from their 3 studio albums: A Feast For The Fallen (2002), The Hallowed And The Heathen (2004) and The Awakening as well as a couple from the newly released The Final Feast (2021), and some well worn live favourites. Anthemic classics "Blood Fever", "Burning The Body" and "Send More Paramedics" were interspersed with the pure thrash speed of "Cannibal", "Nothing Tastes Like This" and "The Unclean". From The Final Feast they chose "Totenkopf" and "Human Capital" which fitted in perfectly well with the older songs and got a great response from the crowd. Ending that part of the set with the hugely popular circle pit inducing anthem from the Tales Told By Dead Men (2005) split EP, "Zombie Versus Shark". 

Then, as this Halloween celebrates 20 years of the band and how it all started from one 5-track demo they recorded way back in 2001 they decided to play the first demo in its entirety: "245 Trioxin", "The Pain Of Being Dead", "Redneck Holiday", "Kingdom Of The Undead", and "Zombified" were old school SMP at their finest. Their final track of the night was always going to be their main anthem "Zombie Crew" from "The Hallowed And The Heathen", this has been the song to end the majority of their shows over the years and it was no different for their final show.

This was an insanely good set list incorporating their standout songs from a vast back catalogue of contenders; it had everything we, the crowd wanted. The added bonus of the new tracks was a great addition to the shows as we will never get to hear these tracks live ever. Adding these 2 new tracks into the set was hugely appreciated by the fans. The band themselves seemed on top form and in good spirits, if that is indeed possible from members of the undead. Having only had 2 practise sessions as a full band in preparation for these 4 shows and then playing 4 shows back-to-back when you haven't done it for years is a brave thing to attempt -- so much could have gone wrong, but it didn't. They nailed it and looked like they were having so much fun in the process. Dogged by a few sound issues to start with, the sound person seemed to have trouble with the bass and vocals on the odd occasion but eventually managed a balance by midway through. I personally think this was due to the height of the ceiling in the building causing these issues. There were some bum notes -- forgotten lyrics and dodgy timing from the band -- but given what I just said about them only having had a couple of practises beforehand this was to be expected. They were few and far between and they dealt with it in their usual professional manner. As always. SMP were very interactive with the crowd, had great zombie related banter in between songs, and encouraged circle pits, with B'Hellmouth often offering up his mic to the hordes to scream along, as well as jumping into the pit himself and crowd surfing. This final show at The Dome was a sellout and the gig was livestreamed across the internet so fans across the world could also witness the final throes of the undead.

Send More Paramedics have come and gone a few times over these last 2 decades and I really feel that this will indeed be the last time that we will see them live. Although this is a sad thing to say out loud they have left us with an epic and lasting back catalogue of insane zombie thrash that I will continue to revisit until my hearing gives out. There was no feeling of sadness when they finished "Zombie Crew," just a great feeling of belonging and honour to have been there with them one last time. Their 20-year milestone has been well truly been celebrated in sincere zombie style and now they shuffle back from whence they came. Be that in the ground or forced back into their metal canisters and barricaded back in their bunker no one truly knows all I know is that their loyal fans will never forget them and in true Bub (Day Of The Dead, 1985) style... we salute you!

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Editor's note: Read our 2021 interview with B'Hellmouth.

The Formative Years

EA 80

I still remember the first time I came across EA 80 in the late 1980s. I was hooked immediately and their music has become a steady companion ever since. 

As a band, EA 80 has always been completely autonomous, self-sufficient and to this day remains a unicum – a monolithic band that has always released its own records and rarely plays shows. If you do manage to capture them in a live environment, you never know what will eventuate. 
You might leave with an ultra-limited specifically made record for the occasion and a banging 30 minute aggressive hardcore set or an epic close to four hour long tour de force. I have seen them numerous times and remember each show.

Despite having been around for more than forty years, EA 80 has always deliberately strayed away from the limelight and been blooming in the shadows.  Never been successful in the classic sense despite having had a dedicated fan base from the get go and selling thousands of records with each release, which is borderline paradoxical given that their ethos is rooted in the refusal of all marketing activities or the participation of other commercial mechanisms down to rarely giving interview.

Musically, EA 80 has consistently reinvented itself without ever deviating from the lane they starting carving out for themselves in 1980: If I had to define the sound of EA 80, gloominess in the vein of Joy Division would come to mind without them ever falling prey to adapting clichés or flirting with gothic vibes.

The clearly articulated, sometimes screamed and often spoken vocal delivery is one of the defining trademarks of EA 80: Monotonous and captivating at the same time with the lyrics not being ornamental but the essential focal point setting the tone for the musical accompaniment, which is mostly centred around the characteristic guitars and the minor scales and tonalities imbuing their songs with a static feeling amplifying an inherently suspenseful and tense vibe: Life is bleak, yet also has beauty to it,

EA 80’s pathos encapsulates the dissolution of the concept of community and champions obstinacy. A stoic and timeless band that could not be more radical when it comes to opposing corruptibility and thereby creates its own aesthetic microcosm, which feels both removed, meandering in the vita contemplativa as well as informed by an immediate sense of urgency that could possibly hit you harder.

To get an idea of how EA 80 handles things, I recommend a visit to their official website:

Water of Life

Melbourne Hot Sauce x Starward and Kavka Vodka

Not exactly the most guarded secret is that I love hot sauces and whisk(e)y and have yet to find an occasion where I would find either not suitable to enjoy. 

However, this does not necessarily mean that they work well together. 

There are quite a few experimental concoctions out there, where e.g. whiskey was finished in Tabasco barrels and while the pronounced spicy vinegar characteristics of the pepper sauce added an interesting facet, it did not amount to something I would consider to enjoy for more than the novelty of it.

What about the other way around though, i.e. hot sauce aged in ex whiskey barrels?

Enter Melbourne Hot Sauces collaboration with Starward distillery. 

With Melbourne Hot Sauces having firmly established itself on the forefront of quality, flavoursome multipurpose hot condiment producers and with a well-respected line-up of well-calibrated and balanced hot sauces based on all-Australian ingredients without any added nasties, Starward could not have teamed up with a better partner than owner and founder Richard Nelson.

This 2021 Ltd edition release is a tour de force in harnessing the vibrancy that makes the carefully curated melange of Habanero, Red Jalapeno peppers, cherries, limes, bananas and Shiraz vinegar, before the melange is set to mature in Starward Nova single malt ex red wine Whisky barrels – which is one of the more refined expressions of Starward’s portfolio we have featured before.

Is your mouth watering yet?

If you are remotely into handcrafted and all natural hot sauces it should be, as this collaboration is an example par excellence for something the whole it culminated in is much more than the mere sum of its individual components would have you think.

What tickles the nostrils upon approach is a not unexpected culmination of peppery and spicy vinegar aromas, which dance with a slightly camphoraceous note.

Heat-wise, we are looking at a medium level, which is perfectly suited to shed the limelight on nuanced appearances of sweet, slightly tarty cherry flavours.

The elongated finished is where this sauce shines as it beautifully reverberates with the DNA of Starward’s Nova expression, i.e. fruity, nutty tannin rich Port wine vibes with a hint of toffee leaving one lusting for another splash.

Excellence is hot sauce form.

While I my preferred kind of liquor is definitely whisky, I can appreciate the flavour, aroma, and soft mouth feel of a good vodka. 
While in public perception vodka might be reduced to being little more than the spirit that mixes well with almost everything behind a bar, there is much more to it, especially when it comes to variants that lend themselves to be enjoyed neat.

When it comes to crisp and clean vodkas, wheat, grain and H2O are usually the main ingredients determining one’s vodka experience, with wheat having largely replaced potatoes as a source ingredient as it requires less distilling. 

As far as water is concerned, it plays a multitude of roles, be it in the mashing process or during dilution to calibrate the ABV, with the purity or purification of water having become a determinator of quality.

Every now and then you come across a vodka that pushes the boundaries a bit while honouring the DNA of the spirit.

Enter Kavka Vodka.

Made in western Poland and marrying the best of the aforementioned traditional liquor crafting techniques, Kavka is the result of the marriage of rye and wheat spirits alongside small amounts of aged apple and plum spirits, which culminates in a strong flavour profile with a delicate nuanced fruitfulness.

Distilled and bottled by Prince Jan Felix Michal Korybut Woroniecki, whose mission was to create an idiosyncratic drop in line with Eastern European spirit traditions in a bid to reinvigorate vodka, Kavka convinces with depth, complexity and a distinct smoothness that is rarely found in other contemporary vodka variants.

Clocking in at 40% ABV and with its syrupy texture, subtle floral hints dance on the top of the mouth set against a backdrop of a dominant citrussy and orange- marmaladed backbone, with the finish reverberating in a crescendo of  plum, apple and juniper notes.
A deliciously clean vodka that lends itself to be the base spirit for a Martini as well as sipping neat.

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images from company websites

Thrice have been trekking across the United States for the past month in support of their new album, Horizons/East, and brought L.A.'s, Touche Amore, along for the ride. The tour's end is on the horizon and Scene Point Blank was there as the tour inched closer and closer to home. While not Orange County, the band took the stage some-80 miles south to a warm homecoming crowd in San Diego.

Amid the ongoing pandemic, there are still some hesitations and concerns from bands, as well as fans of live music, about the type of environment performing can create. Despite the safety protocols the bands have been trying to follow while on the road, Self Defence Family had to drop out at the eleventh hour of the tour after a member contracted COVID. Touche Amore were willing to fill in the void by playing longer set.

A bit of a homecoming for them as well, the band came out and were as energetic as ever with a fair amount of their own fans in the crowd. They've been supporting their own new album, Lament, that came out this time last year while everything was shut down. The band showcased new songs like title track, "Lament," and "Reminders," as well as blistering through older tracks like "Just Exist" from ...Is Survived By and "~" from the band's second album, Parting the Sea Between Brightness and Me, and the appropriately titled for the holiday, "New Halloween" from Stage Four. Their performance never slowed down and was the perfect warm-up to Thrice.

Thrice took the stage just a little after 9 and kicked things off with the new album opener, "The Color of the Sky" and the first single off Horizons/East, "Scavengers." Both added an extra punch to the already powerful studio recordings... and they wouldn't be the only ones. "Dandelion Wine," "Summer Set Fire to the Rain," and especially "Buried in the Sun" all translated magnificently to the live setting. "Robot Soft Exorcism" had an accompanying light show that made the whole performance particularly engrossing like you're the one in the "machine."

The band made sure to entice the older fans with title track, "The Artist in the Ambulance" from their major-label debut or "Of Dust and Nations" and "The Earth Will Shake" from the critically acclaimed, Vheissu. An album of which the band did an anniversary tour early last year just before everything came to a halt.

Throughout the night, Thrice continued to jump around their extensive discography, giving almost every album a spotlight, but I had a personal awakening towards the end of the set. The band went into "The Long Defeat" from their 2016 album, To Be Everywhere is to Be Nowhere, and as the track was hitting its closing lines, all was quiet except for the fans repeatedly singing in unison, "together we'll fight the long defeat." It was beautiful and carried extra weight given the state of the world we're in, and was a moment that's still resonating strongly with me the morning after.

The band walked off after Alchemy Index's, "Firebreather," and encored with the intimate, "Beyond the Pines" before closing the night with the all-encompassing "Anthology" from Major/Minor. It was a wonderful show with lots of positives vibes, which is something we could all use more of. Thrice only has a few dates left on their Horizons/East tour, but I encourage the vaccinated to make it out to their Phoenix show or their Hollywood date (their final show in Anaheim is already sold out) if you feel comfortable. If you have to wait it out until the next tour, then use the time to encourage others to get vaccinated because live music is special, and it's the only way to "fight the long defeat."

Audio = Ground Zero

Bose QuietComfort 

In 2012 I started traveling internationally every month for work and given the amount of time I was spending on the road, I started to consider making some investments regarding gear that would not only make the journey more pleasant but also aid in terms of comfort and saving time, with one concern pertaining to the fact that due to tight deadlines, more often than not, it was essential to get some shuteye while in transit.

Apart from the acquisition of a sturdy yet light suitcase and carry-on luggage to accommodate essentials, one of the more worthwhile acquisitions was a set of noise cancelling headphones.

After conducting quite a bit of research, I weighed up my options and eventually settled for a pair that I was first exposed to when I was upgraded to a business class seat on a long-haul flight with American Airlines: Bose’s battery powered QuietComfort 15 over-ear headphones were not exactly on the cheaper end of the spectrum, yet they seemed  to tick all the boxes in terms of sound quality, noise cancelling abilities and overall comfort.

As it turns out nine years later, it proved to be a great choice as I still have them and while the road took its toll on their exterior in terms of wear and tear, they continue to work like a charm. 

Given my previous experience with Bose, I was intrigued when I learned about the release of the QuietComfort Earbuds, especially since I have used and discarded other underwhelming earbud brands over the years. which severely lacked in both the sound and noise cancelling departments.

With a minimalist, subtly curvy design and a size a tad bulkier than the competition, the Bose QuietComfort Earbuds come in an LEDs lined charging case, which on the exterior indicates its remaining battery levels and on the inside houses each bud separated by a button which enables pairing mode. 

Once paired with the custom made Bose Music app, you are in charge of switching between devices, an EQ actively balancing high and lows of what you are listening to and determining your favourite set-ups to calibrate the levels of their active noise cancelling capabilities.     

Supporting both SBC and AAC Bluetooth codecs, the QuietComfort Earbuds let you easily connect to your mobile device, no matter if you are an Apple aficionado or an Android user and the fact that they are compatible with Bluetooth 5.1, your phone can easily and readily detect them within a nine metre radius.

The fact that you can tap and swipe the earbuds themselves to control volume, summon virtual assistance and finetune other settings, makes it seamless, highly tactile and intuitive experience.

Needless to say, with earbuds a good fit is essential, especially when it comes to noise cancelling ones, which is an area where most one-size-fit-most models fail for me as I like wearing them while running. 

Bose tackles the problem by providing a wide range of ear tips in a variety of sizes along with a flexible silicone wing for added “slide in and twist”-style stability, which aids in finding your perfect snug fit. The fact that they are water and thus sweat resistant adds to the appeal as they can be worn for strenuous exercising as well.

Now, how well does the noise cancelling work with the QuietComfort earbuds?
The answer is: Extremely well.

A sliding scale allows for meticulous adjustments in the cancelling of predictable noise versus ambient sounds. What I like about the QuietComfort is that at all levels of noise cancelling, they facilitate anorganic and transparent sound when shutting out the humdrum of your surroundings.

Another area where I found most earbuds to underperform is the microphone and speech intelligibility / recognition, which is not an issue in the slightest with the QuietComfort model as even hushed whispers are picked up clearly.

Summa summarum:

After nine ears of using the battery powered QuietComfort 15 I feel confident about having invested in a quality upgrade, i.e. a pair of terrific sounding, versatile earbuds, which tick all boxes in terms of comfort, near flawless connection stability and performance (up to six hours of excellent listening time once fully charged), no matter if I am exercising, conducting Zoom meeting or travel and trying to get some shuteye on noisy flights.

Sure, Bose QuietComfort is certainly not the cheapest option out there, but the durability and longevity of their products make it worth the investment for audiophiles looking for a set of earbuds that will not run danger of needing an upgrade for the next decade. 

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image from company website