Interview: Black Sheep Wall on their upcoming album “Songs for the Enamel Queen” and breaking a long silence, Covid effects, long songs, record labels, upcoming plans for 2021, and so much more!

It’s been a hot damn minute since LA’s Black Sheep Wall released new stuff, but thank the sludge gods Songs for the Enamel Queen will be released this week. Seven tracks of devastating sludge, emotionally heavy post-metal, and earwrecking hardcore is just what the doctor ordered for an hour break to hang all your anger, suffering, insecurities, and just bullshit of the world in general on. And it is a BEAST. I can’t turn away from it, the heaviness, nastiness, delicate intricacies, and deeper dive into what their last album “I’m Going To Kill Myself” eluded to in the experimentation department. I had the chance to ask the band about the new album and the looooong silence between albums, how Covid affected them, their love of longer songs, record labels, upcoming plans for the rest of 2021, and so much more. The band was so amazing with their answers and you can tell they really love what they’re doing and absolutely take it as serious as possible, I’ve got nothing but love for them. Seriously folks, please do yourself a favor and grab a copy of this album from the links contained within. This thing is so damn therapeutic and so damn heavy. GET SOME. NOW. At the same time, read on to see how this all went down.

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Album Review: Black Sheep Wall – “I’m Going to Kill Myself”

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With their third full-length album, I’m Going to Kill Myself, California’s Black Sheep Wall actually highlight something very important—though, perhaps, not what they’d initially set out to. More than anything, the album underscores just how important a solid vocalist can be to a band. On Black Sheep Wall’s last album, No Matter Where it Ends, that vocalist was Trae Malone, whose gruff roar fit in perfectly with the band’s solid, if not spectacular, blend of sludgy death-doom. But with Malone now out of the picture, bassist Brandon Gillichbauer takes up the mic this time out, and we’re all the worse for it. His performance is one of the most jarring, miserable experiences in recent memory. It’s borderline unlistenable. Continue reading