Interview – Humanfly


Meet Humanfly, the latest band to be named after a type of stuntman. You’ve probably never heard of them, but that’s okay because we have, and we want to explain them to you.

Here goes:

Humanfly are a band, comprising a number of men. They make records about stuff.

The latest one, Awesome Science came out about two weeks ago, and it’s a dense and rewarding slab of atmospheric post-metal. Meantime, they’ve lined up a UK tour alongside Bongripper and Conan (another pair of Demon Pigeon favourites, by the way), climaxing with a slot at Desertfest in London, on Sunday 28th April.

Actually come to think of it, we suck at this. Why don’t we just let them explain themselves to you? We’ll give founding member John Sutcliffe (vocals/guitar) a bit of space below, shall we?


DP: Awesome Science is awesome. We’re big fans of it at Demon Pigeon and we’d like to ask a few questions about your new album and Humanfly in general.

John Sutcliffe: Yeah we’re happy with how it turned out, go for it!

DP: There is a more pronounced prog influence on Awesome Science than on previous albums. Is that how you would characterize the progression from Darker Later?

JS: Hmm, not in my humble opinion but I can completely get behind where you are coming from. It was never a case of ‘let’s prog it up’. Not even sure how comfortable I feel with being pigeon-holed in such a manner.

Our approach to song writing has altered over the last few years, having had opportunities to jam with other people such as Trio VD and Damo Suzuki. We could play massive jams that were completely improvised when we rehearsed and be completely chuffed with it. It got to a point where we just stopped and said ‘why don’t we turn these into songs?’ Then it was a case of working out the numbers, which is the hard part.

It was definitely more of a natural flow than previous song writing which was reliant on putting pieces of a song together like a jigsaw puzzle.

DP: The way the twin guitars work separately and yet together—it’s like the Fripp/Belew rock guitar gamelan thing King Crimson do. Was that influential on your sound?

JS: Andy and I really try to not play the same things, otherwise there isn’t much point in having two guitars. So he approached his guitar playing for this record very differently. Very unique. I kinda see it as if he’s making his guitar sound like a completely different instrument for the most part; almost like keyboard melodies, followed by blistering Santana and Fripp solos.

My approach was a mixture of influences. I wanted to strip back some of the complexity and remove the ‘chug’ elements to free up some room to introduce vocal melody. So I guess I was going for a mix of fuzz and space rock and wah-wah solos and noise. Pretty standard, I guess.


DP: There’s a natural live sound to the new album. It sounds like the full band playing together in the studio. Is this how you approached the recording?

JS: Yes, we’re pretty much used to recording in that way now and I personally prefer not to ‘fake’ it as much as humanly possible. Even when we shoot videos, we crank the amps up. We’re not actors so having to follow a false process to get a ‘studio’ sound doesn’t really appeal. Might work for some people but I need to see people’s heads bopping and some aggressive body language to adapt and bring a bit more heart to what I do.

DP: Your songs follow a very organic flow, as if they’re evolving from one section to the next, like a collective improvisation. Is improv a part of the writing process?

JS: Yeah totally. Massively into jamming stuff out and trying new things. None of us have any jazz training or experience but we are pretty big fans of the concepts behind it, in that we will approach our instruments (fnar) with a different perspective and challenge our own perceptions, at the same time as showcasing our abilities. Yeah, nice

DP: The lyrics on Darker Later had social and ecological themes. Which subjects fired you up to pen words for the new album?

JS: Oh, variations on a theme. Quite a lot of positive thinking went into this. I’m kind of telling a story but backwards, beginning with ‘the end in mind’. Picture your own funeral in your mind… how would you like to be remembered? Then set your life’s goals and ambitions around that. Time is running out… all things will end. Commit to something and be involved. Birth from death, gravity, time travel, distance, self-belief and a positive perspective…

Type O Negative had a song called Everything Dies. So don’t waste time on shit that doesn’t matter because in the great scheme of things you only have one life.

So yeah, there are quite a lot of themes that are built up around space/science connotations. Make of it what you will, because I really enjoy hearing back from other people as to what they think it means and how it makes them feel.

DP: Four albums down the line, and with a busy tour schedule this year, are there any plans to release a live album? If you could pick one live album as a model for your own which would you pick?

JS: Hmmm, no solid plans to do that as we don’t really play ‘best of…’ sets. We write songs and we play ’em live. That’s how it stands at the moment but I never say never.

Live albums sound pretty poop more often than not but I really like Thin Lizzy’s Live and Dangerous LP. Also King Crimson’s USA album and Black Flag’s 1984 Live albums are pretty buff.

DP: Unlike many bands (and Demon Pigeon, for that matter), both Humanfly and Brew Records seem pretty savvy when it comes to using social media for PR and for engaging with your audience. What advice would you give other bands to improve their profile?

JS: Really? I kind of thought we really sucked at that. Brew are more savvy than us in that they know how computers work and have smartphones! Our own self-promotion is okay, I suppose, but that’s through playing live and hoping that people still dig us enough for word of mouth to spread to the kind of people who dig what we do.

DP: You’re playing Desertfest in April. They’re letting some of us at Demon Pigeon out for that. Which bands will you be watching?

JS: I’m super excited about watching Hammers and Black Moth in particular, as their recent albums have blown my balls off. I will also be hunting down new things for my tender ears to latch onto, so feeling ultra-excited about being involved.

DP: Thank you for taking the time to answer our questions. Best of luck with the album!

JS: Thanks dude, my pleasure. All the best!


Nick Cave and the Bad Seeds – Push the Sky Away


(Bad Seed Ltd)

There’s a lot of Hevy Metulz albums sitting in the dusty pile in the corner of Demon Pigeon Towers that doubles as our latrine. They are mostly dreadful, with a few notable exceptions. But why on earth should any of us be bothered to review them when there is a new Nick Cave & the Bad Seeds album out? Why on earth would you want to be listening to some Djent when you could be listening to this instead?

This album is ace. You should go and buy it. Or listen to it for free somewhere. Or do whatever you want really. I don’t care. I’m too busy listening to this. Oh god, you want me to tell you why it’s good, don’t you? You clicked on a link expecting a sensible review, now there’s just a fat man telling you to go away. You don’t know I’m fat, obviously, but I am. I also have a beard, if that helps?

For those of you living under a rock or in a perpetual Death Metal fugue state, Cave and his merry band of Seeds have been carving a niche all of their own for decades with a potent blend of country, bluegrass, folk, blues, dirty rock, punk and whatever the hell kind of dark weirdness resides in Cave’s magical brain. Cave himself is a man of sublime excellence. He is the epitome of many things, all of them good. If you told me he was the proof of God I may well believe you. Well, no I wouldn’t, but you get my drift.

His lyrics make me want to dash my brains over the nearest sidewalk with their effortless brilliance. He also wears a suit better than any other man in the world, despite being a gangly and not particularly attractive man. That might not tell you anything about this album, but there you go.

This latest chapter sees Cave et al return from their rather more spiky and dirty Grinderman duties in more sombre and introspective mood, the nine tracks on offer here striking a middle ground between brooding intensity and effortless nonchalance. Cave is in full on storyteller mood as usual, his rich and off-kilter voice once again pouring menace into every line, imbuing even lines like ‘Hannah Montana/Does the African Savannah’ from the massive Higgs Boson Blues with a fearsome intensity. There is a track called Jubilee Street, then later another called Finishing Jubilee Street, which is about writing the aforementioned, but never does this feel like an indulgence, it feels part of the fabric of a woven tale, like a storyteller breaking into his own opus to tell you a curious aside.

The mastery of both vocal delivery and lyrics is why Cave remains an almost deified figure amongst his disciples, and he is in prime shamanistic form here. Of course you can be as lyrically dextrous and vocally engaging as all Gidea, but it matter not a jot if your songs are boring. This is a fact that Clutch have been doing their best to prove over their last few albums. That’s not a problem here though.

From opener We No Who U R with its silky bar room vibe, through to closer Push the Sky Away, with its deep reserves of melancholy, this is far leaner than its flashier predecessor Dig, Lazarus, Dig!!! and infinitely more listenable. The songs move forward with an urgency, like Water’s Edge, which surges onwards to a climax with a pulsating bass groove, Cave’s voice almost a whisper. Jubilee Street feels like walking into some dirty saloon where all the locals are ignoring the band in the corner as they play their sleazy blues.

Mermaids suddenly rears up with an uplifting swell and a dark love letter from Cave. ‘I believe in the rapture/for I’ve seen your face,’ croons Cave. We Real Cool and Higgs Boson Blues are both just brilliant, the former driven by a dirty dirty bass riff and a simple piano line and swelling violins, the latter springing a massive chorus on you from out of nowhere. Nine tracks, and not an ounce of fat.

It may sound effortless, but this is focused, brilliant and lean. Of course, if you read any of the music press, none of this what is important. No, it’s much more important to talk about the fact that Cave’s wife is naked on the cover. Oh well. I don’t care. I just want to carry on listening to it. You should do the same.

Go listen to it/10

Let’s all go to France


Over the last few weeks, we’ve had two of the biggest extravaganzas of metal music in Europe unveil their extended line up, replete with day splits. One of these has garnered widespread attention across the heavy metal news sites and magazines, despite a fairly mediocre spread. The other hasn’t, despite having a line up that is the equivalent of the dream fairies jumping into your head while you were asleep, pulling out a list of bands you’d like to go and see play live, then writing it down and handing the list back to you when you awoke. So let’s have a look at that one, shall we?

Hellfest is a three day festival that runs from 21st to the 23rd of June in Clisson, France. It is 160 Euros for a three day pass and camping. the headliners announced so far are Kiss and Def Leppard. So far, so Euro, you might think. But then when you look at the rest of the bill, you can find the following:

Neurosis, Swans, Converge, Cult of Luna, At the Gates, Testament, Danzig, Voivod, Prong, Testament, Kreator, Hypocrisy, Between the Buried and Me, Cryptopsy, Misery Index, Pig Destroyer, Immortal, Belphegor, Sleep, High on Fire, Red Fang, Black Breath, Black Pyramid, Black Cobra, Pallbearer, Masters of Reality, Karma to Burn, Uncle Acid and the Deadbeats, Ghost, The Sword, Graveyard, My Sleeping Karma, Truckfighters, Sick of it all, Agnostic Front, Terror, NOFX, Bad Religion, Gallows, Atari Teenage Riot and ZZ Fucking Top.

That’s not the full line up, by the way. That’s just a list of the bands that I want to go and see when I look at the line up. If you go and have a look for yourself, you’re bound to put together a different list. The reason you will be able to do that is because this festival seems to understand the basic fact that when people go to a music festival, they want some choice.

People don’t just like one type of music, and this is as true of metal as any other genre. What Hellfest have done is put together an incredibly diverse line up from the world of metal and rock, then split it out across six themed stages. Oh, and there’s still one headliner to announce, by the looks of it.

You’ve got the two main stages, one playing a plethora of classic rock bands that personally I have no real interest in but that can clearly shift ticket sales, another with the likes of Korn, Coal Chamber (ok, I’m going to be down the front for that one too but don’t tell anyone) and Helloween. Then you have two stages that cater pretty exclusively for death metal, thrash, grind and black metal. Then there’s the mini Roadburn stage, which is where I will be pretty much camped out, because I am a hipster metaller (as I suspect, dear reader, are you) mainly hoping that Sleep play all of Dopesmoker and I can die happy. Then there’s a whole other tent dedicated to hardcore and punk.

What’s so bloody great about this is that if you get bored after four hours of non stop doom and want a change of pace, you know pretty much what you are going to get if you go to any of the other tents. Fancy something brutal? Got to stage three or four. Need to lie down and chill out? Go watch some old men play your childhood back at you on the main stage. Perfect.

Now, at this point many of you will be thinking ‘waaaa, waaaa, it’s in a different country.’ Well shut up.

The price of a full weekend ticket works out to be about 142 quid, meaning you’ll have 65 quid to spend on transport before you even reach the face value of the Big British Metal Fest. (Incidentally, number of bands I would put on a list from the Big British Metal Fest line up? Eight. And five of them are also playing Hellfest.)

Personally I’ll be grabbing a flight to Paris, a train to Nantes and then another to Clisson, whole thing should take less than 8 hours and breaks down to about 70 quid each way. On British trains that’ll just about cover you leaving your own driveway.

Over the last few weeks I’ve seen all manner of people bemoaning the lack of a decent festival this year. That this festival or that festival has lost its way, or is only booking haircut bands. Or only have headliners you’ve already seen. Well, here’s your answer.

Let’s all go to France.

The Trial of Randall P Scythe

Randy Blythe Freedom
Free Randy Blythe

The world of heavy metal was shocked to its very core this month, as the sensational trial of heavy metal ‘vokillist’ Randall P. Scythe, front man of the bewilderingly popular ‘meathead metal’ band Sheep of Vishnu started at the Hague. Scythe stands accused of the cold-blooded murder of dozens on a killing spree ten years wide and several continents deep.

In pursuit of ‘The Story’, Demon Pigeon goes into the heart of this horrid affair to bring you all the made-up fictional news that’s fit to print.

Coincidentally, LAMB OF GOD vocalist RANDY BLYTHE also finds himself in legal bother at the moment.

Coincidentally, LAMB OF GOD vocalist RANDY BLYTHE also finds himself in legal bother at the moment.


Before he was unfathomably considered a heavyweight in the turbulent world of heavy metal vocalising, Scythe was born Archibald Merriweather in the sleepy Dorset town of Slumberton. He grew up with a fascination with two things: heavy metal and murder.

According to prosecutors at the war crime tribunal, the first murder committed by Merriweather—then just a tender 14-year-old—was of his elderly neighbour. According to eyewitnesses, when said neighbour made a remark to Merriweather concerning ‘the devil’s music’, Merriweather responded with vociferous argument to the effect that not all heavy metal fans were in league with the devil. In fact, most heavy metal fans were only interested in beer and The Ladies, insisted Merriweather, a message that was lost somewhat after the old man was shoved off a cliff with his arms severed.

The missing limbs were never found.

Randy Blythe Freedom

Free Randy Blythe.


This first act of passion by Merriweather/Scythe appears to have awoken in him a ferocious blood lust, and by the time he reached his twenties he’d killed several more people, according to lead prosecutor Kris Madup.

None of these people were of any real consequence, however, and as a responsible blog that knows how to cut to the chase, we’ll just gloss over those.

It was when the hit 90’s ‘Grove Metal’ band Pantharo came to town that Merriweather experienced the revelation that gave birth to his alter-ego Randall Scythe, at the age of 22. He had long enjoyed the medium of heavy metal as a fan, but after a chance encounter with Pantharo’s guitarist Bodybag Darren, Merriweather decided to reinvent himself as a hard drinking ‘vokillist’ much in the style of Darren’s own ‘vokillist’, Prince Phillip of Asgard.

Together Scythe and Bodybag spent a chilly Dorset evening recreating the crimes of Jack the Ripper with some unfortunate ladies of the night, Darren simply waving away any police interest by showing them his ‘International Rock Star’ passport and signing the Chief Inspector’s man boobs; a surprisingly effective tactic in mid-1990s Dorset.

After this brutally formative experience, Scythe began trying desperately to get a band together, but could never quite achieve the sound he so craved. He knew he wanted to create something that would linger in the imagination, like his friends in Pantharo. But being utterly devoid of his own ideas or talent, it wasn’t until years later when Pantharo returned to Slumberton that Scythe was finally able to realise his destiny.


Nice tie, Rando.


‘Chilling’ backstage with his old crime-buddy Bodybag Darren, he happened to spot his idol’s ‘Big Book Of Pantharo Riffs’ in the backstage area, and he knew immediately what he had to do. What happened next was even more ‘chilling’ than the ‘chilling’ Pantharo were doing backstage (and Pantharo were a band known for their legendary ‘chilling’ abilities).

Scythe quickly reached out to his network of locally-based murderous lunatics, and offered £24.67—the full contents of his wallet—for the death of Bodybag Darren during the gig itself;  this hasty plan was achieved on that infamous day in 2003 or 2004 or whenever it was, when the now infamous Statham Fale stumbled onto the stage waving his arms around. Having tied hair-trigger shotguns to his arms, which duly went off, Fale created a scene of utter carnage that Slumberton will not soon forget.

According to his plan, under the cover of the ensuing panic, Scythe managed to smuggle the book out of the venue. And two weeks later Scythe had recycled enough Pantharo riffs to have a whole album’s worth of songs for his new band. Initially called Set Fire To The Vicarage With The Vicar’s Wife Trapped Inside, the name was soon changed to the snappier Sheep of Vishnu. Their debut album, New English Testament, was a dreadful cacophony of recycled 90s riffs. In an innovative production technique, all drums were tracked by letting a hamster fart on a breadbin with a microphone inside it.

New English Testament was entered by prosecution counsel into the record of evidence as one of Scythe’s greatest acts of depravity.

Randall P. Scythe, AKA Archibald Merriweather, seen here preparing for his hearing.

Randall P. Scythe, AKA Archibald Merriweather, seen here preparing for his hearing.


Prosecutors attest that the next ten years of Scythe’s life were a mêlée of murder and dreadful generic metal. Each album shuddered further down the barometer of quality, as Scythe was forced to select less and less promising riffs from the much-missed Bodybag Darren’s Big Book of Pantharo Riffs. Meanwhile, each tour lead to more and more unexplained disappearances of assorted local children, livestock, cheerleaders, and fast food workers. At one Japanese musical festival, Scythe is accused of having slain an entire ladies’ basketball team, for no crime greater than happening to share the same hotel at the same time as Scythe.

According to prosecutors, he spotted them singing Karaoke in the hotel bar and by breakfast the next morning they were all, without exception, found hanging from lampposts proceeding along all cardinal directions (that means compass points, idiot) away from the hotel. It is believed they may have been singing the Pantharo hit This Glove in the bar when Scythe struck, and the prosecution asserted that it was this reminder of Scythe’s own inadequacies as a songwriter that sparked his homicidal rage.

The picture painted by the prosecution is a grim one indeed, although it is for none of these crimes that Scythe was first caught; nor are his offenses against tasteful music to be considered by the jury.

Despite Scythe’s alleged trail of destruction, it is the deceptively simple—and for Scythe, routine—murder of a fan at a gig in some European backwater that finally brought this monster’s reign of terror to a halt, at least for the duration of the trial, anyway. The prosecution alleges that the fan ‘died of being killed’ after Scythe, who had recently had laser eye surgery to allow him to fire lasers from his eyes, chose a random crowd member and set him aflame. Shortly prior to this, it is alleged, Scythe remarked to the crowd: ‘You pussies wanna see something SICK?’

Randy Blythe, pictured here with a bogey hanging out his nose. An innocent man.

Randy Blythe, pictured here with a bogey hanging out his nose. An innocent man.


Scythe’s defence team argues that the lasers were installed as a promotional gimmick at the behest of a record label increasingly worried about Sheep of Vishnu’s dwindling relevance in a market no longer dominated by recycled 1990s riffs. The lasers were meant to engrave the band’s logo into the back wall of the venue, they argue, but due to a mote of dust that rudely lodged itself in Scythe’s cavernous nostril, causing a sneeze, he accidentally ‘let off’ a small burst of concentrated laser fire, and reduced the fan to a smouldering husk. The defence also state there is no evidence for any of the other murders, but then they would say that, wouldn’t they?

Today’s developments have now seen the trial of the century pushed back, after the entire witness list reported seeing a menacing cloud in the shape of a sheep outside the hotel where they are sequestered. Scythe’s defence team and management have put out a joint press release stating: ‘Our client has no control over the weather, and accusations that he does are utterly unfounded. Oh, and so are the murder ones, obviously.’

The trial begins again in March. Until then battles will rage on and in the pages of a million pointless and shitty heavy metal media outlets, where people will defend Scythe or condemn him based entirely on whether they like his music or not. And you can, of course (not), catch all the latest developments right here on the very best of those shitty heavy metal media outlets, Demon Pigeon.

The trial continues. Also don’t sue us, we’ve got nothing.

Jesus Christ No


Soundgarden are a band who—in their current incarnation—seem hell-bent on proving the second law of thermodynamics applies to mid 90s alt-rock music, as well as to Professor Brian Cox’s massive frightening grin. In case you’re already dazzled by our vocabulary, barely one sentence into this article, that’s just a fancy scientist’s way of saying EVERYTHING FUCKING SUCKS. And this whole paragraph is just our fancy bloggers’ way of saying Soundgarden have released a new video and so are making everything fucking suck just that little bit more.

You may have heard it. You may have seen it. You may have immediately rushed to your nearest mental institution and begged them to apply the electrodes to wipe it from your mind. You may not have done, we have literally no way of knowing.

But what you might not have seen, unless you were stupid enough to subscribe to their mailing list when they first reformed and it all seemed like a good idea, was the press release that went with it.

If you didn’t, here it is, in its entirety:

‘Conceived and directed by our friend and fan Dave Grohl, depicts the “Crooked Steps” gang cruising around the tough streets of LA, reeking havoc on the DJ scene. Dave said about approaching the band to direct the video, “I had an idea. I got a copy of the record and the third song ‘By Crooked Steps’ was a signature, instantly recognizable Soundgarden song,” and the rest was history.’

Dang. I mean… Just.


Let’s just take a moment to stand and marvel at this. Take a moment. Read it again.


So. Where to start? Let’s take it line by line, eh?

‘Conceived and directed by our friend and fan Dave Grohl, depicts the “Crooked Steps” gang cruising around the tough streets of LA, reeking havoc on the DJ scene.’

Wait wait whoa whoa. Sorry, too many things in that first sentence are wrong. Let’s break it down again, shall we?

‘Conceived and directed by our friend and fan Dave Grohl.’

Ignoring the fact that you haven’t really bothered with an introduction, who is the presumed author of this masterpiece? It seems to have been written by a band member, judging by the ‘our friend and fan’ clause. Hands up everyone who thinks that’s the case? Also, you’ll note that there’s no sign off from a band member at the end. This is nitpicking, but I’m a pedant, as I think this article proves. And that’s not the worst bit.

‘Our friend and fan’

For some reason, this makes every pore on my body want to commit suicide. Our friend and fan. Sure, he’s our friend, but he’s also a fan. ‘Hey guys, you know I’m your friend, but I’m also a big, big fan.’

This really upsets me, and i don’t know why. Also, they missed out ‘HIV Truther’ in that. It should be ‘our friend, fan and noted HIV denier Dave Grohl.’ Okay?


‘depicts the “Crooked Steps” gang cruising around the tough streets of LA’

Sorry Soundgarden, you appear to have missed out a word there. What depicts what? The video depicts it? Then you should probably say that. I know the press release is for the video, but that’s no reason to go and throw out the rules of the English language. It could just as easily be ‘the tip of my penis depicts.’

Also, ‘Crooked Steps’ gang makes it sound like you are describing the punks that helped Crocodile Dundee break into that mansion to get his girlfriend out that time. And as for ‘cruising’ …well, we’ll leave that where it is, shall we?

‘reeking havoc on the DJ scene.’

Is the Crooked Steps Gang particularly stinky then? Do they walk in a room and cause the aforementioned havoc through a general lack of personal hygiene? Are they setting off stink bombs in the video? Are they wearing Lynx Africa? No? Then I think the word you are looking for is ‘wreaking’.

And how does one wreak (or reek) havoc on the DJ scene? Maliciously retagging someone’s MP3s? Spitting into record sleeves? Flipping off a turntable? NONE OF THIS MAKES ANY SENSE.

Let’s move onto the line attributed to Mr Grohl.

‘Dave said about approaching the band to direct the video, “I had an idea. I got a copy of the record and the third song ‘By Crooked Steps’ was a signature, instantly recognizable Soundgarden song,”’

Okay, the comma at the end of that quote should be a full stop unless you’re planning on putting some more clichéd bullshit in Dave’s mouth; but aside from that, is it just me or does anyone else hear this spoken in their head with an upper class English accent?

Clearly Dave’s statement has been truncated here, leaving this opening line to hang around making no sense at all. Dave doesn’t say anything about approaching the band to direct the video, so the whole sentence just keels over and dies. It’s as though the work-experience kid who was writing this release got really bored after copying in the first part of Dave’s statement, looked at all the rest of the crap he had to shovel into the press release and thought ‘sod it,’ put a comma in and said (drum roll please)

“and the rest was history.”



My, that’s a portentous way to end a press release about an ageing rock band and the short film made for them by another ageing rock musician to promote their new very bad song.

History, was it? The thing you are describing that is ABOUT TO HAPPEN, is history? This video is such a momentous achievement in the epic sweep of all mankind that even before you’ve released it to the world, it has entered into the annals of history? There’s now books about this video and you can take a university module in it at Warwick, and Simon Schama is making a programme where he wanders around a ruin narrating this video’s genesis in a dramatic, lurching cadence.

Why do people continue to be fascinated by everything David Grohl puts his sticky fingers on? Why? Can anyone explain? Because as far as we can tell (whisper it) he isn’t particularly good at anything!

Whoever is responsible for this piece of dreadful promotional garbage should be thoroughly ashamed, but then having taken time to hear the song and see the video, we realise we’re just as tainted. This is just one more regret to add to the pile.

But the worst shame of all is that we—we of all people—never even saw the abject disappointment of this second chapter of Soundgarden coming. Can someone please stop this band? Just please, make them stop.