Inertia Kills ‎– "Tous Des Aveugles" Discography CD (1995/2009)


"Terrorisateur Québécois"...PUTAIN DE MERDE ILS AVAIENT RAISON!!!


CDR Culture: Three Friendship "Mixtapes" Of Industrial & Neofolk (Mostly) From Justin & Ray...


"A mixtape (alternatively mix-tape or mix tape) is a compilation of music, typically from multiple sources, recorded onto a medium. With origins in the 1980s, the term normally describes a homemade compilation of music onto a cassette tape, CD, or digital playlist. The songs are either ordered sequentially or made into a continuous program by 'beat matching' the songs and creating seamless transitions at their beginnings and endings with fades or abrupt edits. Essayist Geoffrey O'Brien described the mixtape as perhaps the most widely practiced American art form.

Homemade mix tapes became common in the 1980s. Although the compact audio cassette by Philips appeared at the 1963 Berlin Radio Show, the sound quality of cassettes was not good enough to be seriously considered for music recording until further advances in chemical formulations of the tape. Before the introduction of the audio cassette, the creation of a pop music compilation required specialized or cumbersome equipment, such as a reel-to-reel or 8 track recorder, that was often inaccessible to the casual music fan. As cassette tapes and recorders grew in popularity and portability, these technological hurdles were lowered to the point where the only resources required to create a mix were a handful of cassettes and a cassette recorder connected to a source of pre-recorded music, such as a radio or LP player. The 8-track tape cartridge was more popular for music recording during much of the 1960s, as the cassette was originally only mono and intended for vocal recordings only, such as in office dictation machines. But improvements in fidelity finally allowed the cassette to become a major player. The ready availability of the cassette and higher quality home recording decks to serve the casual home user allowed the cassette to become the dominant tape format, to the point that the 8 track tape disappeared shortly after the turn of the 1980s. The growth of the mixtape was also encouraged by improved quality and increased popularity of audio cassette players in car entertainment systems, and by the introduction of the Sony Walkman in 1979.

A distinction should be drawn between a private mixtape, which is usually intended for a specific listener or private social event, and a public mixtape, or 'party tape', usually consisting of a recording of a club performance by a DJ and intended to be sold to multiple individuals. In the 1970s, such DJs as Grandmaster Flash and the Furious Five, Afrika Bambaataa and the Soulsonic Force, Kool Herc and the Herculoids, and DJ Hollywood would often distribute recordings of their club performances via audio cassette, as well as customized recordings (often prepared at exorbitant prices) for individual tape purchasers. These recordings tended to be of higher technical ability than home-made mixtapes and incorporated techniques such as beat matching and scratching. One 1974 article in Billboard reported: 'Tapes were originally dubbed by jockeys to serve as standbys for times when they did not have turntables on hand. The tapes represent each jockey's concept of programming, placing, and sequencing of records. The music is heard without interruption. One-to three-hour programs bring anywhere from $30 to $75 per tape, mostly reel-to-reel, but increasingly on 8-Track and cassette.'

Throughout the 1980s, mixtapes were a highly visible element of youth culture. However, the increased availability of CD burners and MP3 players and the gradual disappearance of cassette players in cars and households led to a decline in the popularity of the compact audio cassette as a medium for homemade mixes. The high point of traditional mixtape culture was arguably the publication of Nick Hornby's novel 'High Fidelity' in 1995. Since then, mixtapes have largely been replaced by mix CDs and shared MP3 playlists, which are more durable, can hold more songs, and require minutes (rather than hours) to prepare.

While the process of recording a mix onto an audio cassette from LPs or compact discs is technically straightforward, many music fans who create more than one mixtape are eventually compelled to confront some of the practical and aesthetic challenges involved in the format. From a practical standpoint, such issues as avoiding an excessive amount of blank tape at the end of one side (which requires careful planning of the length of each side of the mix) and reducing the audible click between songs (which requires mastery of the pause button on the cassette recorder) have been identified as part of the shared experience of mixtape aficionados. From an aesthetic point of view, many enthusiasts believe that because a tape player, unlike a CD player, lacks the ability to skip from song to song, the mixtape needs to be considered in its entirety. This requires the mixtape creator to consider the transitions between songs, the effects caused by juxtaposing a soft song with a loud song, and the overall 'narrative arc' of the entire tape. Many enthusiasts also devote substantial attention to the packaging of a mix tape intended as a gift, sometimes going so far as to create cover art and customized liner notes.

From an artistic point of view, many creators of mix tapes seem to regard them as a form of emotional self-expression, although whether a mix tape retains the same web of emotional associations when passed from its creator to the recipient is, at best, debatable. Some argue that in selecting, juxtaposing, or even editing originally unrelated tracks of pop music into a new work of art, the author of a mix tape moves from passive listener to archivist, editor, and finally active participant in the process of musical creation. On a very basic level, the creation of a mix tape can be seen as an expression of the individual compiler's taste in music, often put forward for the implicit approval of the tape's recipient."

💿

"'Cassette culture' refers to the practices associated with amateur production and distribution of home-recorded music via audio cassettes. Several factors led to it's popularity: the development of the format and widespread availability of tape decks allowed participants to produce copies of their music (or other's music via 'tape trading') rather cheaply. Additionally, multi-track equipment that used cassettes and electronic instruments such as drum machines all became more affordable, portable, and of fairly high quality. These factors finally made recording at home and duplication of those recordings a low cost alternative to professional studios and distribution services. 

In the United Kingdom cassette culture was at its peak in what is known as the 'post-punk' period, 1978–1984. UK cassette culture (as in the U.S.) was mainly championed by punk groups, industrial musicians, and marginal artists in general. Individuals would often freely copy their releases in exchange for a blank tape and return postage, but there also existed many small 'tape labels'. There was great diversity amongst those labels, some were entirely bedroom based, utilizing new home copying technologies, whilst others were more organized, functioning in a similar way to established music companies. Some also did vinyl releases, or later developed into vinyl labels.

In the US, cassette culture activity extended through the late 1980s and into the 1990s. Although larger operations made use of commercial copying services, anybody who had access to a tape-to-tape cassette player could release a tape and publicize it in the network of fanzines and newsletters that served niche markets. Therefore cassette culture was an ideal and very democratic method for making available music that was never likely to have mainstream appeal. Many found in cassette culture sounds that were more imaginative, challenging, and groundbreaking than output released on major and even mid-level record labels.

The packaging of cassette releases, whilst sometimes amateurish, was also an aspect of the format in which a high degree of creativity and originality could be found. For the most part, packaging relied on traditional plastic shells with a photocopied insert (though some labels, no matter how small the operation, made more of an effort). In the late 1990s cassette culture began to decline with the advent of new technologies and methods of distribution such as CDRs and MP3s, though in recent years it has seen a small yet highly dedicated revival."

Tellus #13: Power Electronics Tape 1986


Maybe Mental, Merzbow, Amor Fati, If Bwana, Rhys Chatham, Psyclones, Blackhouse,
Joseph Nechvatal, Master/Slave Relationship, Architects Office, Controlled Bleeding,
Mojo, Coup De Grace, Le Syndicat, Mitch Corber, and F/i...


"Launched from the Lower East Side as a subscription-only bimonthly publication, the Tellus cassette series took full advantage of that then popular format to document and promote the New York scene's experimental composers of the time. It published 'audio art', exploring musical spheres as diverse
as post-industrial, no wave, neo-dada, noise, avant rock, radio plays, tango, electroacoustic,
musique concrete, and sound collage."

Negative Gain - "Back From The Dead" LP 1986 (FLAC)


"Negative Gain was founded in Toronto by Peter Warner, who wrote all of the lyrics and provided rehearsal space in his basement. Filling out the lineup was Grant C. Slavin on guitar, Steve Currie on bass, and Andrew Mosely on drums. All members were in their mid-teens at the time. Their influences included Minor Threat, Millions Of Dead Cops, Misfits, and Dead Kennedys, as well as local bands Direct Action and Sudden Impact. They got their first break in 1983, opening for Jodie Fosters Army at the legendary punk club The Turning Point (Pete and Grant went skateboarding with JFA after the show). The evening was documented in a subsequent issue of Thrasher. Other memorable gigs included opening for the Circle Jerks, Gang Green, Descendents, and 7 Seconds. The group went from listening to their favorite bands' records on a daily basis to hanging out with them backstage (and stealing their beer riders)! More help came when promoter Jill Heath sent their demo tape, 1985's Attack of the Killer Bears, to Pushead for review in MRR. Pushead liked the tape so much that he offered to release an LP. They recorded the album in five hours on a Saturday afternoon in Oakville, Ontario., with Brian Taylor of Youth Youth Youth as producer. Sadly, Pete Warner committed suicide not too long after the LP was completed, and never lived to see its release. The remaining members continued on as a three-piece for two more years before splitting up in the late 1980s." --Edited From Grant C. Slavin

Seizure - "All Hail The Fucking System" 7" 1986 (320 With Hi-Res Scans)


Michigan-Heresy's spiritual twin (Britpunk delivery, Yankcore tone)...

Gore Beyond Necropsy - "Go Filth Go!" CD 1999 (FLAC)



My original review from 2000 (I'd traded for the CD from
one of the labels, who in turn got my live Repulsion LP, booted by 
the guy...Sergio...who put out the first live boot Crossed Out 10"
[not "Fuck Grindcore"])...

"I'm speechless, absolutely fucking speechless. I simply cannot and will not find fault in this CD (other than why didn't the band just release this as one massive 117 song album seeing as it was recorded at the same sessions as their Relapse CD). Gore Beyond Necropsy are the all-time gods of ultra sewage-goregrind (with the occasional half-assed but still serious social commentary). This pisses, shits and analdrills all over their split with Minch. Nothing was left out on this disasterpiece...the hokey 50's tunes as intros along with the John Waters samples, guitar tone that resembles Repulsion bass, 58 tracks in 26 minutes (!!!) of 2-second songs mixed with longer deathcore grinders, Every song played at hyper-killspeed, un-harmonized/effected vocals (singer Mamoru comes across like Lee Dorrian during F.E.T.O. with a bad sore throat), hilarious and genius song titles such as 'Puke, Piss and SHIT on Your Face', 'Reek Of Putridfashionpig' (one of my favorite songs) and 'Scenario Of Total Annihilation', and to top it all off they have a guy who just makes POWER-ELECTRONICS along with the songs! I swear you're a fucking poser if you don't get this CD! I do have one fear and that is that I'm afraid that there really is nowhere else the band can go within the grind genre. Over their 7+ year existence they have explored all of the traditional routes from drum-machine and Carcass-worship days to their refinement as the ultimate cheesy goregrindmassacrecore band. They really can't go any faster as the musick would just fall apart into Anal Cunt meanderings then, and for them to slow down...well, I prefer not to dwell on such terrible thoughts. PLEDGE YOUR PITIFUL SOULS TO GORE BEYOND NECROPSY!!! Whoopsy! Almost forgot to mention the great full color (I thought this release would be in black and white) layout complete with tasty front-cover collage of a putrid ball of cancerous, jaundiced and A.I.D.S.-infected chunks of SHIT squished together!!! HARSHIT RECORDS/837-6 HORINISHI. HADANO-CITY/KANAGAWA 259-1331/JAPAN"


Terminal Disaster - "Nuclear Suicide" Demo 1981


Airstrip 1 in '81! If the unknown ripper had told me this was a lost Napalm Death demo from the Bullshit Detector era, I'd swallow that lucid fairytale hook, line, sinker, the entire cooler of wormbait, the fucking fisherman, and his dingy too! No homo...I MEAN Y-E-S...YES homo......if it's Ellen Page nigga...


Offerbeest - "Afrika" CD 2018 & Split Tape With Clawing 2018


"Maurice De Jong is a real prolific artist hailing from The Netherlands. He’s involved with numerous projects (both 'Gnaw Their Tongues' and 'Aderlating' are some of his most renowned), but Offerbeest is one of his newest sonic creations, which he started in 2017. He recently released the 'Afrika' album on Malignant Records. The work is an analogue creation dealing with hard-electronics and power-noise. Time for a brief introduction to the harsh world of Offerbeest..."

Interview Edited From Inferno Sound Diaries 2018

What incited you to set up Offerbeest and what makes this project different from all the other ones you’ve been involved with?

I wanted to do music without using samples/computer/DAW. Just using analogue gear; limiting myself in a way. At the time I found that doing ambient/noise/drone (like Aderlating) with digital gear was just too easy, not a challenge anymore. I use my DAW as a recording device of course, but there is no editing or manipulation. I think Offerbeest is my most straight up industrial/power electronics project. The focus lays on the rhythms, bass sounds, noise and ambient sounds. And of course spitting hatred into the mic.

Tell us a bit more about your way of working and composing and how did the “Afrika“ CD came to life?

I just messed around with my gear until I found something that sounded interesting to me. Or something that sounds really nasty and sick. For “Afrika” I had a general feel and theme. So I worked from there.

Analogue gear takes an important part in your composing process. What makes the magic of analogue equipment and also the main differences with software equipment? Do you have favorite tools?

There’s no magic in my opinion. I just was fed up with using digital gear and samples creating drone/noise etc. I use both a lot, but for Offerbeest I made a conscious decision to only use analogue gear. My favorite tools are my Eurorack set up (mostly "Doepfer" modules) and my Hades bass synth.

Considering the booklet and title of the tracks, “Afrika” appears to be an "engage" work. What did you try to express and do you consider yourself as an "engaged/reactional" artist?

No engagement. No expression. No reaction. Just trancy numbness. People need to make their own minds up about the music and themes, though I have been interested in the more gruesome side of the continent since I was a kid.

Nekronomikon "First E.P." 12" 1998 & "Deathcore" 12" 2000


Pulping-the-pulp minimalist speedcore/experimental hardcore from one Spaniard,
two French fucks, and their broken (psychologically broken) drum machine.

Bad Breeding - Self-Titled LP 2016 (Wav)


Interview With Chris Dodd By Alex Macrow 2015...

I understand that you returned from recording your debut album in L.A. last week. What made you decide to record in the States rather than in the UK?

We'd been pondering how to approach the record for a lengthy period and in the end the decision was based around the people we wanted to work with. The prospect of putting the songs together in Los Angeles might seem like some manifestation of financial immoderation or excess, but what we arrived upon was a plan that allowed us to do the sessions on a shoestring budget with a producer who was emotionally and artistically invested in the band. Joby J. Ford had been a fan of what we were doing and it just so transpired that he had some incredibly charitable friends from the Californian punk community who were able to lend us gear and provide a studio, which helped us save on the cost of flying things over. On the morning of the outbound flight, as we walked through the nauseating commercial stupor that Heathrow throws you into, I remember thinking to myself how moving it was that somewhere out there room still exists for things to work on the basis of admiration and artistic understanding amongst all the corrupt noise.

In the past, you've said that being a Stevenage-based band has had an influence on your music. What sort of impact do you feel having recording sessions Stateside has had on the music?

We're most certainly a product of Stevenage and I'm sure there are many other young people living in new town developments across the country who feel the same: marginalised, stagnant, ignored… Our ideas were all written in a tiny rehearsal space on an industrial estate and we have always been keen to hold on to what inspired us to write the songs and their structures. Recording in another country was never going to change that. I've been asked the same question by friends and family, who I think were under the illusion that we were flying away to submit ourselves to some wild American experience - which wasn't the case at all. During the sessions we worked from early morning to late in the evening, and to be honest I've probably got more sun by walking my dog back home. There wasn't any time to become engrossed by American culture other than when we had to navigate through the gross profusion of food on offer at the end of the day.

Does the material sound like the songs Bad Breeding have already released, or are there moments where you experimented with it?

The two releases from the band so far were recorded during a period of relative infancy, just a few months into working together. The whole concept of Bad Breeding didn't get started until late in 2013 so I'd like to think what we've put together on the record is a step forward both in terms of ideas as well as in our presentation. My sensibilities are in English anarcho and hardcore and I've personally tried to inflect more of that into the record, while the others have brought a whole range of new concepts to the songs compared to when we first started. At the centre of the band is the idea of self-empowerment and musically we've produced a framework that continuously seeks to reiterate that point, at times through brute force and at others using more subtle manoeuvres. Lyrically the content might be bleak and cynical, but half of the tactic is recognising certain faults and giving time to addressing dark subject matter - I like to do that using both serious content and my own take on macabre self-deprecation.

Are there any details that you can release about the album or the recording session yet? If not, when are you expecting to reveal them?

Not at the moment. If you can bring me Michael Gove's head on a stick I might be able to give you a preliminary track-listing?

When listening to your music, it reminded me a lot of early punk, but songs such as 'Age Of Nothing' sound like they have an indie rock edge as well. Are you a fan of both genres?

The songs are written together as a four, usually around an idea that somebody has brought along. There are lots of different touchstones, but I wouldn't say there is any conscious effort to bring wider work into what we're trying to do. Obviously you're influenced by what you consume - that's the nature of having a brain and being a human - although I'd say that we don't really spend much of our time analytically thinking about other people's output and how it fits within the context of Bad Breeding. What I would say is that our surroundings and environment seem to be the most conducive thing towards the whole process. We write and rehearse in a restrictive room for a few hours after spending the majority of the day scraping around to earn a living. A two-hour period a few times a week gives us the chance to plough every frustration, anxiety and concern into our instruments, leaving the backbone of the songs to take form out of a destructive, almost primitive, process. At the end of the practice you've only got the prospect of going back to waking up at 5 am the next morning to lug bricks around a building site as part of a cyclical, monotonous routine and that definitely plays into the identity of what we create. That rehearsal space can be a tense and punishing environment for all of us and we often have to draw on the strength of our friendship to ensure that we don't all fall apart or end up chinning each other. The go-to descriptor is punk, but like you say there are some other elements at play. Punk and hardcore are important to me and my record collection is full of Crass, Flux Of Pink Indians, Crisis, Void, Rudimentary Peni and Noh Mercy, however the feeling is that we'd like to do something that is more inclusive in a musical sense. Some scenes can, by their own nature, go against the idea of inclusivity because of the sense of impenetrability about them. Don't get me wrong, in the UK there are some great things going on in both London and Leeds - take work by Good Throb, Frau, The Lowest Form, Perspex Flesh, Static Shock Records and places like the Temple Of Boom - but bringing in some softer elements, or maybe more melodic overtones, has been a conscious effort on our part to cast the net a touch wider.

You covered the Wire track 'Two People In A Room' late last year. Do you have a particular affiliation with the band?

No particular affiliation really, it was decided upon just as us being fans. I first listened to Wire in my late teens having inherited part of my dad's record collection. Pink Flag and 154 were both in there and made a real impact on me, they're brilliant…In terms of the song, 'Two People In A Room' was the easiest to play. They're undoubtedly better musicians than we could ever hope to be.

Your live shows are extremely intense and fairly unforgiving but, from what I've seen, you seem to conduct yourself very differently on and off the stage. Do you consciously choose to represent yourself in two different ways?

What happens live is always a fiercely organic process, it's us putting everything on the line to present our art in a limited period of time. For me personally, it's about expressing emotions that aren't always presentable within the confines of my day-to-day existence; a sort of mangled catharsis. The aggression, intensity and despair is also a way of showcasing the band in our most vulnerable form. I said earlier about promoting inclusivity - presenting ourselves in such a manner helps to give people the chance to see everything laid bare. The aim is to convey that we're not just a bunch of mouthy nihilists. In terms of preparation, I think we always naturally just tell ourselves to be honest and put in all that we have at each show - that doesn't always manifest in physical ways either, sometimes going through the songs can be a mental strain too; perennial frustration can do funny things to your head.

You sold one of your previous releases exclusively through eBay and Alibaba. Did this process operate as you expected it to, and did it have the desired effect?

The idea behind that method was to test the water. As a new band we felt that it was important to explore different ways of presenting releases and reaching people. Given the size of that specific release ('Chains' was limited to 200 copies) it was a way of examining what impact leaving behind the bureaucracy and autocratic nature of labels would have on us. Going via eBay and Alibaba meant that we could just take the music from its source and pass it on to those who wanted it in terms of a physical release. Obviously things become more complicated when you look to larger releases because of the impact of distribution and more sizeable orders, but it felt necessary to try something without a middle-man creaming too much off the top of your creation.

Knowing what you know now, would you stick to releasing material via this unconventional method, or would you use more conventional vendors such as iTunes?

I think it would depend entirely on the release and the amount of distribution required. We offered the last 'Chains' single as a free download via SoundCloud and only charged for the 7"s.

You seem to be a fiercely independent band. I'd be interested to find out why you decided to leave the DIY aspect behind and release the split 7" via Hate Hate Hate.

The Hate Hate Hate release was actually our first. Our friend ran the label and for an initial single it seemed like a nice place to give it a home. The guy behind HHH always had an intensive focus on giving new bands a chance to press something physical - it kind of had its own DIY feel about it. It gave us a platform to put our first bit of material out and also made us think more widely about how to release the second.

I've read a few interviews that you've done in the past where you seem to be fairly outspoken on the subject of politics, including an NME piece encouraging people to vote. Would you describe Bad Breeding as a political band? Where do you stand on the issue of the lack of artists discussing the topic?

I'd agree that we carry a light for political awareness. I wouldn't say it defines everything we do: lyrically the band also explores a lot of personal trauma and reflects on a number of things that extend beyond politics. Political apathy in music is arguably an extension of indifference at a more societal level and I think that's quite prevalent in the UK. Voting is important as it's one of the few democratic ways to bring about change so I'd always advocate doing it. What isn't that productive is encouraging political discourse purely for fashionable purposes, which culminated in right-wing sledging and the preaching of en-vogue liberalism on social media during the most recent general election. This time around social media became a baiting ground for people to pipe up against UKIP and the Conservative party, only for the results to portray a rather different feeling. There are obviously genuine questions to pose about the standpoint of those parties, however writing a few jarring Facebook comments and preaching hate on Twitter isn't going to contribute to progressive discussion about how to improve our situation. The internet can often provide wonderful moments of liberation for people all over the world, but social media clearly had its limitations during the election. If people want to make a difference there are other ways to encourage discussion and aid progress. You mentioned a lack of discussion from artists - why not use your art to make a statement, maybe hold a benefit gig for those who are being failed by people in positions of authority or take part in a protest movement in action? Gobbing off in 140 characters does just as much to distort the perception of complex, contextual issues as the work of the heinous right-wing press. Musicians don't necessarily have any obligation to discuss politics and I can understand why people might feel impassive - why would you want to get involved with a topic that sees the mainstream media spend three weeks analysing how a man eats a bacon sandwich? There's also the slight issue of musicians trying to carve out a financial existence from their work. In the commercialised and materialistic era we find ourselves in, there's more pecuniary reward and exposure in ambiguous songwriting than there is in sticking your neck out on the line or venturing too far into the cerebral.

The general election is still fresh in everyone's minds, what are your opinions on the outcome?

Like a lot of people I feel dejected and disenfranchised, but most of us were aware of the pitfalls of the first past the post system and the potential influence that the migration of votes towards SNP could have on the result before the leaders' campaigns began. That said, seeing a Labour defeat at the hands of a Conservative party that has been showcasing morally questionable policy has made me determined to be more active in the future. I come from a family that has benefited from post-war Labour successes and have also been influenced directly by the aspirational ideologies put forward since 1994. However, I can't help but feel lost as a supporter. Other than Labour's naive outlook towards the adroitly-steered SNP, I think a major contribution to the defeat was a lack of connection with those aspirational voters who backed Tony Blair in 1997. The loss in bond only allowed the Tories to galvanise sections of the electorate who still sought ambition and aspiration in exchange for their vote. Stevenage, a town which has found itself in constant search of identity since its birth as a then-liberal experiment of town planning back in 1945, serves as a perfect microcosm of the impact of Labour's loosening connection. As a socialist, my concern now lies with what is going to pan out under a majority Conservative government unchallenged by a coalition partner. Since the victory, we've seen the announcement of a front bench that includes politicians whose belief systems evidently fly in the face of social progression. You'd find it hard to argue that Labour would not have pushed some sort of austerity policy had they been elected, but I feel vulnerable people are going to suffer even more with talk over cuts in the coming years: ideas being mooted of lowering the benefits cap even further, removing housing benefit for young people, renaming zero-hours contracts without addressing issues of exploitation, cutting help to those with disabilities. Without getting lost in political nepotism, I'd say my interest predominantly lies with how people are impacted by policy. At a local level in Stevenage, we've just re-elected an MP [Stephen McPartland] who voted against the marriage of same-sex couples. In the UK women are charged a five per cent luxury tax on items that hide the natural process of menstruation because of restrictions under EU law. It's hard not to feel like you're living in an age where the very basics of human understanding are being eroded by those who you share no common ground with. You can't blame younger voters for nurturing apathy towards the whole process when they feel like they're unable to be truly represented.

You'll be performing at the Sunday of Field Day, alongside Ride, Patti Smith and your former tourmates Eagulls. To me, your music sounds fairly different to a lot of the artists on the bill - does the idea of playing alongside artists so different to you seem intimidating?

Not at all. There's very little point in being creative or producing something, only to shun away when it comes to presenting it to people. We can't play to Slavoj Žižek fans every night.

You're also touring with Mastodon in Ireland later in the month, and supporting Metz. It's obviously going to be a very different atmosphere than Field Day. Do you plan on adapting your performance in any way to compensate for this?

I don't think so. We strive to play every show with the same principles as any before it.

Besides the events that we've already mentioned and the recently-announced Reading and Leeds appearance, is there anywhere else that fans can expect to see Bad Breeding in 2015?

As part of a guest appearance on Corrie. ["Coronation Street", a popular and very long running British Soap Opera.  --S]
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