Seek Harbour - Far From Home - EP Review

Seek Harbour - Far From Home - Independent

Track List:

1. Dagger Like Eyes

2. Wolves

3. Far From Home

4. TY (FBMH)

One of my favorite parts of being an independent music outlet is finding and being introduced to new bands in the scene. I'm sure many think that with the internet, how could you not easily find every band that makes music you like? But it happens, and sometimes it happens because there are separate scenes in other countries. That's where Seek Harbour comes in. Seek Harbour will release the entirety of their debut EP, 'Far From Home,' independently on Friday, April 8th.

Seek Harbour are a post-hardcore band from Kent, located in the UK. But it's probably a little too easy to say they're "post-hardcore," as Seek Harbour adds a few genres to the mix, including some pop-punk sensibilities and hardcore-style screamed vocals in their dual-vocalist band. Nevertheless, it's a fascinating and exciting combination, primarily because the band has a sturdy melodic post-hardcore backbone.

The band has been releasing tracks from the debut 'Far From Home' EP since 2021 but will culminate with the emotional finale 'TY (FBMH),' which I believe stands for "Thank You (For Bringing Me Here)" on Friday. The song is very melodic and especially catchy in nature. The screams (or uncleans) are minimal, but the passion is still at the forefront. This is often the way Seek Harbour handles the song structures in 'Far From Home.' The instrumentation is often very clean. The singing and screaming switches are placed up front in the mix. Thankfully, they are not muddled in the production, which can often be the case in these genres.

Throughout the EP, Seek Harbour creates an intoxicating atmosphere that drives anticipation for what's coming next. The mix between singing and screaming is varied and keeps the listener's interest without becoming stagnant. The instrumentation follows precisely as needed by complimenting the atmosphere and adding the appropriate flair. For a debut EP, 'Far From Home' certainly doesn't show it.

Even though the debut EP is relatively short. At four tracks totaling nearly fourteen minutes, Seek Harbour has made a cohesive EP saturated with so much passion and emotion that repeat listens aren't just demanded; they're needed. So make sure 'Far From Home' and Seek Harbour are on your radar this Friday and in the future.

Bandcamp (Pre-order ‘Far From Home’)

‘Far From Home’ (Pre-save)

Facebook

Instagram

Wither Away - I Won't Find Hope In You - Album Review

Wither Away - I Won’t Find Hope In You - Independent

Track List:

1. April (Spring Is Coming)

2. Kagune (Ruin Me)

3. Shadow Form

4. I Won’t Find Hope In You (Feat. Ricky Armellino of HAWK) - Single

5. The Town Where Only I Am Missing

6. Persona (Feat. Hotel Books)

7. Dark Room

8. Cherish Your Friends - Single

9. Stigmatized

10. Your Name.

After four years, Reading PA's Wither Away has returned with an ambitious follow-up to their debut EP. This time, they demand to be heard, and I recommend you listen. 

Right away, an interesting note when it comes to the visual representation of Wither Away, in most cases since the start of the band, a pagoda has been a strong structure utilized in their first singles to their debut EP 'The Words We Live By, The Actions We Don't Take.' But now, on the cover of 'I Won't Find Hope In You,' the pagoda is set ablaze. Is it now a symbol of the desecration of inner peace, the destruction of what we believe is valuable in this world, or destroying that part of you that was holding you back? 

It's challenging to put Wither Away into a musical category because they utilize multiple genres very well. At times, there are flashes of an emo-rock band, melodic post-hardcore, or even alternative rock. But what does it all really mean? Really, it means they're comfortable making whatever music they want, and it shows in IWFHIY. From the instrumentation moving from melodic to aggressive to the clean (singing) vocals to out of nowhere uncleans (screams), Wither Away keeps you on your toes and, more importantly, keeps your attention. JJ's vocals are strong while showing weakness in the storyline while weaving multiple vocal disciplines into a cohesive story. The instrumentation is dynamic, drives when needed, and creates an atmosphere integral to making that comprehension through the album.

Tracks range from discussions, almost conversations asking questions of depression, religion, and does belonging even exist? The fourth wall is even broken in the track 'I Won't Find Hope In You' as you're told, "I wish that I was only writing lyrics when I said that I don't like having fun. Depressed but now I see there's beauty in this melody". I recommend listening to the album while reading the lyrics to capture any nuances that may have been missed.

In the track' Stigmatized,' JJ repeats lines towards the end of the track with the solo backing of guitar-only in a melodic fashion. More instruments join in, and JJ's vocals become more pleading and emotional. He screams, "You're dead to me," his last line and almost every other band would kick everything into high gear to either restart the chorus or get one more semi-breakdown squeezed in, but Wither Away doesn't, and instead, play out more melodically and calm. That's confidence in one's musical direction. 

That's one of the keys to IWFHIY, confidence. In every facet, Wither Away has made an engrossing album built like the pagoda with confidence. Confidence in their musical ability to draw you in, keep you on your toes, create an atmosphere, and tell a compelling story.

Not only did Ricky Armellino (HAWK, Ice Nine Kills) mix and produce the album (a fantastic job of keeping tone and ambiance), but he also added his featuring abilities, as did Hotel Books. Both features add an extra layer to the dynamics of IWFHIY and fit in nicely. The only things that ever felt out of place were small autotuned pop flourishes in the final track 'Your Name.'. It's nothing that would ruin the track; it just feels out of place with the tone of the rest of the album.

I have been a fan of Wither Away since their debut EP, but they added another dimension to their abilities with 'I Won't Find Hope In You.' The album's flow is precise, layered, and the balance of singing and screaming is unrivaled. You'll never feel like you're worn out or following the same template set by others. The band has genuinely made something personal of their own and shared it with an audience.

Wither Away has done anything but, with their new full-length release, 'I Won't Find Hope In You.' Make sure you listen and support them. 

Website (Pre-Order/Order ‘I Won’t Find Hope In You’)

Facebook

Instagram

Twitter

Music Links

Landon Tewers - Frontal Lobe Submission - EP Review

Landon Tewers - Frontal Lobe Submission - EP - Independent

Track List:

1. Gospel Therapy

2. Kill Me

3. Fuck Pacing

4. Gave My All

5. Just Talkin

6. When I’m Gone

When I spoke about Landon Tewers last, I reviewed his previous solo release 'Withdrawals.' I started the review by saying, "This is Landon Tewers, not The Plot In You." The same holds true here, so I felt it bears repeating. Landon's solo material usually is very different than anything he's done with The Plot In You previously. But this new release, 'Frontal Lobe Submission' (referred to as FLS as we continue), is also different from 'Withdrawals' and continues the dynamic shifts of Landon's varied music career in a pretty significant way.

FLS begins with the first single, 'Gospel Therapy,' which sounds like it could be a b-side of 'Withdrawals.' It's an interesting dynamic as the song starts as one genre and quickly morphs into a bouncy, funky-groove. You know it would get people moving at a live show. It has that element of surprise during the track's evolution that puts you on your back foot. It asks the question, what can possibly come next?

That "next" is the second single, 'Kill Me.' It's a very catchy song when the chorus crashes in, especially for a song begging for death. It's a full and upbeat song you might not be expecting based on the lyrical content, but one you'll find yourself singing along to quickly. The song features the popular Rory Rodriguez of Dayseeker as a great compliment to this melodic and passionate track.

'Fuck Pacing' changes everything up once again as it seems like it belongs in a movie feeling similar to 'Stand By Me.' Then the beat kicks in, and if your shoulders aren't moving, you must be in a confined space. This track features Gabbie Hanna as a duet, and it's exactly what the track needed. The extra layering compliments everything even before the horns kick in. 

Another sing-a-long track is next in 'Gave My All.' Acoustics drive the pace, and some screaming vocals give the song the extra grit it needs. This will be up there with 'Kill Me' soon enough.

'Just Talkin' probably has my favorite line in this EP: 

"...I will never stay consistent. 

No, I will never

No, I will never think the same."

I feel like that line capitulates Landon, especially when it comes to his music projects and prowess. The beat in this track doesn't even come in until around the second minute. The song continues with an R&B/Hip hop flair that culminates with a very, very strange "child" speaking at the end. It wouldn't be Landon without some weirdness, haha. 

The final track, 'When I'm Gone,' could easily be used in a movie where the main focus is hipster drama. It sounds like the perfect suicide note put to music, but the track isn't depressing; the instrumentation lingers on the positive, almost hopeful tone. It's not the cookie-cutter sad acoustic song at the end of the emo/pop-punk album, and it leaves you wanting more. 

If you take out 'Gospel Therapy,' FLS sounds more focused this time around. It'll depend on your tastes what type of Landon's material you gravitate to most. Still, he always has a way of making everything sound unique. Each release is exciting because not only do you have to stay on your toes, but there's also an abundance of quality that goes with everything Landon does. Start your year off right with 'Frontal Lobe Submission' and listen to Landon Tewers stay consistently inconsistent in the best way possible.

‘Frontal Lobe Submission’ comes out Friday, January 29th.

Pre-order/order ‘Frontal Lobe Submission’ and more, by following the links below:

Landon Tewers - Website (Pre-Order)

Landon Tewers - Twitter

Landon Tewers - Instagram

Landon Tewers - Facebook

HAWK - Tolerance's Paradox - EP Review

HAWK - Tolerance's Paradox - EP - Independent

Track List:

1. CLVRMFKR

2. Mileage (1st Single)

3. King With No Survivors

4. Alibi (3rd Single)

5. Counter Ops (2nd Single)

6. Universes

HAWK's debut EP 'Tolerance's Paradox' is undoubtedly no paper tiger.

December can often be a strange time to release music, and with a global pandemic to boot, this December could be the most bizarre yet. In our music scene, one thing that has always baffled me about November and December is that many people already have their "best of the year" lists completed. Nothing is ever in concrete, I'm sure, but every year there's bound to be a surprise release that, for lack of a better cliche, comes out of nowhere. This December is no different as HAWK releases their debut EP 'Tolerance's Paradox' TODAY!

For anyone unfamiliar with HAWK or want some backstory, HAWK is the "evolution" of This Or The Apocalypse (TOTA). "Evolution" is in quotes because HAWK seems to be the manifestation of a band that learned many lessons over its' four full-length album career. After many labels, personnel changes, and sound changes, HAWK has emerged with no label, two original members (Ricky Armellino and Jack Esbenshade), and their debut EP of catchy, post-hardcore/alternative tracks, one of the most exciting and unique of 2020. 

(PS - Drawing a blank? You may have seen Ricky playing guitar and singing back-up for Ice Nine Kills in recent years) 

Even the EP's title, 'Tolerance's Paradox,' is thought-provoking. Knowing the lead vocalist Ricky Armellino, it could mean any number of things:

1. Is it a play off of philosopher Karl Popper's paradox of tolerance, which, to paraphrase, is the concept that to be a tolerant society, you must be intolerant to intolerance?

2. Is Tolerance a person's name, and they have a paradox?

3. Is it just a cool title?

4. Insert more ridiculousness here.

I'm willing to go out on a limb and say that I think it's the first one, and not necessarily because it seems intellectual, but because the saying is often applied to a political climate, and more than one track in this release can be interpreted as political. At least one track (Track 5 - Counter Ops) is blatant in its political message of insurgency. But that's not all the release is, nor should you be "turned off" by music that may have a political statement. Come on; this has Ricky screaming and singing. How can you go wrong?

Each track is uniquely it's own. Today's scene bands may make a "heavy" album that gets them popularity and then completely switch to a "softer" genre on their next release, but this isn't what HAWK has done here. They've mixed genres but made each track so different from the next while still being HAWK. That's not an easy feat to accomplish, especially for a band going through a brand revamp. HAWK's strength comes from mood changes, turn of phrases, and dynamic shifts, while still being cohesive. Each song is catchy in different ways, which keeps the listener interested in a very dense and congested scene. Even the three singles released previously (Mileage, Counter Ops, and Alibi) are tracks you won't want to skip while listening to the entire experience.

From an almost spoken-word opening with a bleeped-out expletive to a Dayseeker-esque closer, 'Tolerance's Paradox' keeps you captivated from front to back and is the perfect introduction to new fans and fans that loved TOTA alike. One thing I can say for sure, 2020 might have been a shit year (for many reasons), but as far as music goes, with the addition of 'Tolerance's Paradox,' 2020 is ending the right way, and the future is nothing but bright.

Make sure to support HAWK in all they do by following the links below:

HAWK - Website

HAWK - Facebook

HAWK - Spotify

HAWK - Instagram

HAWK - Twitter

Tigerwine - Nothing Is For You - Review

Tigerwine - Nothing Is For You - Tooth & Nail Records

1. Anteroom

2. Technicolor Yawn

3. Scarecrow

4. Black Water

5. Salt

6. Wigwam

7. Word Hoard

8. Hiss At The Sun

9. Nothing Is For You

10. Complete

It’s been slightly more than three years since Tigerwine released their debut full-length album ‘Die With Your Tongue Out’ (Blood & Ink Records) and now in 2020, they’ve returned on a new label, but with that familiar Tigerwine sound.

But, not familiar as in, “the same album” again. Definitely not. Tigerwine has embarked on something new, yet familiar. It might sound cliche, but I think you’ll understand when you listen through. There’s no official intro to Tigerwine’s sophomore full-length release ‘Nothing Is For You’, but like many of the songs on the album, there’s a built-in intro to the first track Anteroom. It lures you in with reverberation and repeating guitar picking, which leads to...old-school feedback and distortion! It’s time for some rock! 

Hayden’s voice hasn’t skipped a beat since DWYTO. Haunting at times, delicate at others, and harsh when screaming certain notes. You can hear the passion intensify as songs build (see ‘Scarecrow’ for example). Maybe it’s just me, but the production and instruments feel like I’m in a small bar or club seeing a local rock band play their hearts out. Even though the album can be relatively atmospheric or possibly noise rock-y at times, there’s a rawness the band captures that’s often lost in today’s scene. 

Another topic of note, unlike many bands in the scene, Tigerwine take their time creating an atmosphere for their songs. Nothing seems rushed. Each track is over 3 minutes with many in the 5-minute range, the longest at 6:35. No interludes, or stand-alone intro and outro tracks. You get your breath in the lead-up and then it’s off to the races. In the track ‘Wigwam’, a little more than halfway through, the vocals float away, leaving the mood to settle into drums, guitar, and feedback. The vocals return after the desired effect has taken hold. That tone plays throughout the entirety of ‘Nothing Is For You’ and I wouldn’t have it any other way.

Tigerwine’s sophomore offering doesn’t disappoint in the slightest. While keeping elements of DWYTO, They have only added to what they’re capable of in ‘Nothing Is For You’. Less screaming doesn’t mean the element of heaviness has left, it’s just now presented in a different style. This is an album to lose yourself in, to imitate in your garage, or to take in a long and rainy drive with it as your soundtrack. Hopefully, this is only the start for Tigerwine. 

You can pre-order ‘Nothing Is For You’ following the links below. ‘Nothing Is For You’ comes out on Friday, May 1st, 2020 through Tooth & Nail Records.

Tigerwine - Facebook

Tigerwine - Twitter

Tigerwine - Instagram

Tigerwine - Store

Muri and Friends - Covers EP - Independent

Muri and Friends - Covers EP - Independent

1. Fuck I’m Lonely originally by Lauv featuring Johnny and Rory Spencer of Dayseeker

2. Good Things Fall Apart originally by ILLENIUM featuring No Dice

3. Graveyard originally by Halsey featuring Tilian Pearson of Dance Gavin Dance

4. Thanks For The Memories originally by Fall Out Boy featuring Johnny and Jonathan Young

5. Youngblood originally by 5 Seconds of Summer featuring Lauren Babic of Red Handed Denial and CrazyEightyEight

6. Party In the USA originally by Miley Cyrus featuring Surf Team

7. Everything I Wanted originally by Billie Eilish featuring Whale Bones

Bilmuri is the answer to anyone in the scene seeking something unique. Since 2016, Johnny Franck (songwriter, frontman, crabcore legend, and an all-around good guy) has had NINE releases. NINE. That’s pretty much two albums a year, which is unheard of in a scene where the turnaround for an album or EP, at the lowest, and still very rare, is at least a year. Most would be at two or three years. Impressive on its own, but as the saying goes “quality over quantity”, right? That’s where the uniqueness shines because this quick turnaround has yet to diminish the quality of the music (or the music videos, do yourself a favor and check those out). Plus, Bilmuri is not afraid to take chances in the genre department. The more recent releases are very different from the old school discography yet, still with that distinct Muri sound. Now, that brings me to what would be Bilmuri’s tenth release.

...But first a little backstory. Cover songs have a very interesting dynamic in the scene. They can be used in many different ways as an artist or a listener. Some may use them for popularity (see I Prevail), some to pay homage to artists or songs they respect. Sometimes, being called a “cover band” is a derogatory comment (see Our Last Night), but sometimes it seems like artists get their friends together, as well as artists in the scene they respect and want to work with, to have some fun and connect to a possibly larger audience and give the fans something new to check out. The latter best describes the tenth Bilmuri release and the creation of the new SUPERGROUP Muri and Friends!

Johnny has seemingly pulled together with friends he’s worked with many times in the past like Lauren Babic (Red Handed Denial, CrazyEightyEight) and Tillian Pearson (Dance Gavin Dance). Bands he’s toured with like Whale Bones. No Dice, who he collaborated with in the past to make ‘DiceMuri’. And then there are people and bands I’d like to hear the backstory of how the collaboration started: Surf Team, Jonathan Young, and Rory Spencer (Dayseeker). Maybe I’ll find out in a future podcast…(I’d also like to know how the specific songs were chosen as well).

Obviously, this is a very diverse bunch of bands and vocalists, all with different backgrounds. One of the fun parts of hearing a cover song is checking out the artist’s original music as well (definitely make sure you do that). The differences in styles give you a lot to discover. Another unique aspect of this ‘Covers’ EP is that Johnny isn’t always the vocalist and he’s never the lone vocalist. This adds more dynamics to the composition of each track and allows the other artists to shine on their own. Speaking for myself, unless a cover song is already covering something from the scene, ‘Thnks fr the Mmrs’ for example, I won’t know it unless it was absolutely everywhere, see ‘Party In The U.S.A’. So, listening through, almost every track was new to me. Going through the EP, your listening experience may be completely different if you know the original tracks better. That’s always an interesting part of cover songs, at least for me. It will determine how much the cover hits you, did you like the original more, is the cover better, or are they both good in different ways?

Even though I don’t often listen to pop music (really, never), I went and listened to the originals of all the songs covered by Muri and Friends. It was very interesting to hear how the artists on the EP decided to compose their vision to keep some aspects of the originals, but also make each their own. Some parts stand out because of a heightened note or tone, a twist on the lead up to a chorus, or even a tempo change.

I don’t want to go track by track on the differences between the original and the cover, because it’s up to you to feel how the songs affect you, but for example, a big standout on the EP is the Billie Eilish cover by Whale Bones. You can feel the passion and seemingly torment manifested in the vocals and lead up to the crescendo. Everyone will feel something different, I’m sure, but that’s what’s so amazing about music.

Once again, Bilmuri continues to stand alone and stand out in another diverse and engaging musical endeavor. The best part is that he always seems like he’s just having fun and I believe you can feel that in the music. No matter the style or composition it’s very difficult to fake that. I will continue to look forward to any time Bilmuri releases anything, because I know it’s going to be a good surprise to my day and music catalog.

bilmuri - Website

bilmuri - Twitter

bilmuri - Instagram

bilmuri - Facebook

Landon Tewers - Ai640 Part III - Review

Landon Tewers - Ai640 Part III - Independent

1. Excrete

2. Blasphemy

3. Debt

4. Final Form

I once started a review for Landon Tewers’ album ‘Withdrawals’, where I said, “This is Landon Tewers, not The Plot In You”. Well, what do I say now? Technically, it’s all Landon of course, but let me introduce you to another one of his side projects, Ai640, which, might actually be the “heaviest” of everything he’s done. Hopefully, that got your attention.

First, some background. Ai640 is a concept of more than five years in the making. Part I came out in 2015, Part II in 2017, and now, Part III in 2020. In case you didn’t already know, by Landon’s own words, “This is a story about a robot with artificial intelligence that escapes the lab he was made in, sees how disgusting mankind is, and decides the only way to save the planet is to exterminate all humans”. Delightful, right? The concept isn’t exactly new, any sci-fi fan will tell you that, but the story is very unique in how it’s told in the medium of music. 

Let me do a quick recap for you. In Part I, Ai640 escapes the lab and through a series of events, decides to destroy the human race, killing thousands and creating chaos. In Part II, Ai640 meets a human named Jane who makes Ai640 rethink its’ purpose. Part III picks up farther in the future, but you’ll have to listen to find out Ai640’s fate.

It’s cliche to say, but Landon really does pull out all the stops in Part III. He uses almost every version of screaming possible in the first track ‘Excrete’ alone. From guttural bellows to shrieking wails and distortion that brings you even closer to the character. It’s an extra level of detail that, if not done correctly, would come off hoaky, but Landon nails the balance needed perfectly. You can hear the passion, the hatred at times, that emanates from his mouth as he describes Ai640’s thoughts on humanity as he moves through a desolate and unforgiving world he created. If you ever needed proof that Landon is one of the most talented and dynamic vocalists in the scene, Part III is the exclamation point to that debate. 

As for the music itself, if you miss old-school Plot, now you’ve at least got your heavy back. Part III is metalcore through and through. Throughout the entire concept, that’s been the case and there was certainly no reason to detour. The production is crisp and it needed to be with how dynamic the shifts in tone and vocals are, not to mention there are effects and dialogue aplenty to move the story along. It’s a very hard-hitting release with only brief moments to really catch your breath. A lot is covered in only four songs, but multiple listens are warranted to pick up on little nuances you may have missed the first time through.

You can listen to Part III without hearing the first two parts for the music alone, but following the story and Ai640 brings an extra layer to the experience. Even though it would probably be tough to pull off, seeing all three parts performed live, front to back, would be pretty epic. I know that’s a very overused term, but after finishing Part III, I think it applies here. 

Ai640 Part III is a definite must-listen for anyone who’s enjoyed the Ai640 story so far, but also metalcore fans in general. Sometimes it feels like it’s difficult to bring something new to the genre, but Ai640 makes it look pretty effortless. Each part has improved on its’ predecessor and Landon has given his story a very satisfying conclusion, but, is it truly the end of the saga? What awaits Ai640 and the last of the human race? You’ll have to listen to find out.

Landon Tewers - Website (Pre-Order)

Landon Tewers - Twitter

Landon Tewers - Instagram

Landon Tewers - Facebook

Crystal Lake - True North - Interview

Ian here! I know you're used to hearing my voice, but today, we're trying something a bit different. We've been talking about Crystal Lake, the four-piece Japanese metal band, on the weekly show Ian Hates Music with Jackson and I for a while now. They just released their fourth album True North through Artery Recordings and I was given the opportunity to ask vocalist Ryo Kinoshita and guitarist Yudai Miyamoto (YD) some questions before the big release! Check them out below!

First off, I’ve listened to your new album True North many times already and I’ve very much enjoyed it. Congratulations on continuing to put out quality music to the scene. I think that’s a good place to start. I hear a mix of a few different genres in True North including metalcore, alternative, hardcore, and nu metal influences, which is very refreshing. Was that an organic process while making this album or was it planned?

YD: We made clear what we really want to express and what kind of music we can be really proud of before we actually start writing songs.  As the result, we realized what we wanted to play was what we've been listening and various kinds of music related to the culture around us.   This realization made us free to write what we really like.

After making a mark on the American scene with The Sign, what was your mindset while making True North?

Ryo: We just wanted to make our sound more unique as a japanese band, especially its exotic melody and rhythm.

Of course, we wanted to make it heavier and more melodic sound.

With the shifts in genres in True North, was there an overall theme or message you want the listener to receive while listening?

Ryo: ”No matter what surrounds us changes, this is us.  This is the way we are.”

I was very impressed with the technical abilities showcased in True North, was there anything that each of you worked on and really wanted to showcase in this album?

Ryo: I want to show not only technics of growl and guttural but the wide range of voice as a vocalist.

The band has been around for a long time now, with member changes of course, but with such an extensive catalogue, how do you choose which songs to play? What is a favorite for each of you to play live?

Ryo: We always have trouble in choosing which songs to play.  We often change the set list right before the show.  My favorite song is ”Dreamcatcher”.  The rapping part is so hard to sing but always fun.

YD: I would choose new songs because they are made by our latest ideas and passion.  But we sometimes try to understand what kids want to hear and choose old songs.  I personally like 'New Romancer' and 'Waves'.

On the subject of touring, what’s the major difference for you between touring in Japan and touring overseas? Do you have any plans to tour the states in 2017? If so, I hope you come to Boston so I can see you live!

Ryo: Japanese wants messages and meaning from what we say, not what we sing about. On the other hand, I think people in overseas are hungry for music. They react directly.

Ryo: I'd love to!   I've wanted to see how the reactions in the states would be.  Can't wait to see people waiting for us.

For the end of a conversation, I like to switch it up from music because I have some other shows I do as well. I’m also interested in many different genres of movies. Do each of you have a recommendation for best movie of 2016 in your opinion?

Ryo: Definitely ”Your Name”.  ”Star Wars: Rogue One” will be the next.

YD: It's little bit difficult to pick up one but 'Sing Street'. It reminds me of youth.

Lastly, a weird one (laughing). As a touring band going all over the world, do you have a plan if the zombie apocalypse happens?

Ryo: I will become a zombie and eat away people without hesitation.  I will slit your guts.

Thank you very much to Ryo and YD of Crystal Lake for taking their time to get in touch with me! Make sure to support Crystal Lake by following these links:

http://merchnow.com/catalogs/crystal-lake

https://www.facebook.com/crystallake777/

http://crystallake.jp/

https://crystallake-band.bandcamp.com/

http://arteryrecordings.com/artists/crystal-lake/

And, for the full review of True North, tune into Ian Hates Music podcast/show! You can find everything Ian Hates here:

http://www.ianhates.com/

https://www.facebook.com/ianhates/

https://twitter.com/ianhatespodcast

https://www.instagram.com/ianhatespodcast/

https://itunes.apple.com/us/podcast/ian-hates-music/

http://www.stitcher.com/podcast/ian-hates-music