Where they from?
London, UK. I watched the Oscars this past weekend, probably the only big time non-sporting event I watch during the year. It was boring as fuck and my Mom kept asking me what was going on even though she was on her phone the entire time. I also saw none of the movies and went to bed at 9:30pm. 0/10, would not recommend.
Why the hype?
Trauma Bond first came to my attention with their 2022 opus Winter’s Light, which was ironically released during the summer. The duo, comprised of musician Tom Mitchell and vocalist/lyricist Eloise Chong Gargette excel at concocting anxiety-fueled neo-industrial grindcore (say that ten times fast) that relies more on theme and atmospherics rather than just straight blast beats and terrible puns. Every release so far has been a highly intense and immersive experience, similar to some of the collaborations between Full of Hell and the Body. I would say Trauma Bond is the rare band to appear in this column that has serious breakout potential in that their music could appeal to a far wider audience than just dirty crusters with Disrupt patches sewn to their pant legs.
Latest Release?
Summer Ends. Some Are Long Gone, self-released. Oh shit, they got the Kurt Ballou guest spot so you know THEY MEAN BUSINESS. This album is the third release in a quadrilogy (say that 10 times fast) focusing on the four seasons and much like the summer months, it is quite brutal. The band seems to have discovered a greater sense of groove and given itself a license to explore some of its more experimental aspects with less restraint. The result is some mighty strong art-grind that should appeal to the coffee shop crowd on both sides of the Atlantic.
Summer Ends. Some Are Long Gone by Trauma Bond
The post Blast Worship: Trauma Bond appeared first on Decibel Magazine.