HORROR IN CLAY – LIVE FROM TOAD HALL

The roar of discordant guitars, the anguished yells and fractious vocals alongside that primal, tight, foreboding rhythm section…

Who else could create such unflinching, disquieted sonic territories one moment and yet manage to foster enough benevolence to create an amenable – if not still quite chilling – effort the next?

That “amenable” work comes in the form of “Bring Out Your Dead”, the first single from Live From Toad Hall that manages to shoehorn itself partly in the realms of shoegaze and partly in the realms of dream-pop.

Perception being how it is though, you can decide amongst your editorial team how you want to define Horror In Clay. We’re just giving you suggestions. Vocalist/guitarist Casey Latimer describes the sound as “post-punk/pop with one of those Limp Bizkit DJ type scenarios in the mix.”

Live From Toad Hall encompasses the works that were previously released as stand-alone singles with two unreleased efforts from their previous recording sessions with Aonghas Jones, who also mixed the majority of the EP (sans the latest single.)

Some of the tracks you may be familiar with (“T.U.X”, “Burnt Hands”), but as Casey from the band is quick to point out “they’ve been mastered with more flash.”

Going through the finishing touches from Remi Salvador at Evergreen Mastering, there is a touch of familiarity when listening to Live From Toad Hall, if you’re a long-time follower of the band and the label.

And you would be correct in being aware of that familiarity – Salvador helmed mastering duties on GPOGP’s (Google it) near iconic works Scrying In Infirmary Architecture, Songs of Sodomy & The Compost of Aethyr and their split with Log Horn Breed.

“Remi hit me up years ago,” Casey mentions, “and was into what we were up to. He is very excellent so we hit him up on doing this.”

With artwork as distinctive of a feature for Horror In Clay as much as the music itself, a physical release of Live From Toad Hall will see the ever-popular cassette format revealed alongside an art book featuring works from the band members.

“I think the art and music influence goes both ways for me involved in the art process” Casey explains. “But overall it’s just collating what feels right to the end product. We found all these photos books in the trash and decided to pimp them out and thought they’d go well alongside a cassette.”

LIVE FROM TOAD HALL releases June 4th 2021 through MUZAI Records worldwide.

The Genesis of Live From Toad Hall

Every release has its own origin story, and for Horror In Clay, the path to Live From Toad Hall was as organic as it was inevitable. The band had been quietly amassing a body of work that existed in the liminal space between standalone singles and a cohesive statement. Rather than force these tracks into an artificial album structure, the decision was made to let them breathe as a collection—an EP that captures a specific moment in the band's evolution. The title itself, Live From Toad Hall, is a knowing wink to the band's own mythology: a fictional venue where the walls sweat with condensation and the stage lights flicker with malevolent intent. It's a place that exists only in the collective imagination of the band and their listeners, yet it feels as real as any dive bar or basement show.

Casey Latimer, the band's vocalist and guitarist, speaks of the process with a mix of pragmatism and whimsy. "We never set out to make an EP," he says. "We just kept recording songs that felt like they belonged together, and eventually we looked at the pile and said, 'Well, that's a record.'" The sessions with Aonghas Jones were spread across several months, with the band dipping in and out of the studio between other commitments. This fragmented approach, rather than diluting the material, gave each track its own distinct character while maintaining a through-line of dread-soaked melody. The two previously unreleased tracks were pulled from those same sessions, dusted off, and given new life alongside the singles that fans had already embraced.

The decision to include previously released material was not made lightly. "We knew some people would say, 'Oh, I've already heard these,'" Casey admits. "But the remastering changed them enough that they feel new. It's like seeing an old friend after they've had a really good haircut and a new leather jacket." The remastering process, handled by Remi Salvador at Evergreen Mastering, brought a new sheen to tracks like "T.U.X" and "Burnt Hands," adding depth and clarity without sacrificing the lo-fi grit that defines Horror In Clay's sound. The result is a collection that feels both retrospective and forward-looking—a snapshot of a band in motion.

The Sonic Landscape: Post-Punk, Shoegaze, and the Limp Bizkit Factor

Attempting to pin down Horror In Clay's sound is a fool's errand, and the band seems to delight in that ambiguity. Casey's own description—"post-punk/pop with one of those Limp Bizkit DJ type scenarios in the mix"—is as accurate as it is absurd. It speaks to the band's willingness to incorporate unexpected elements into their sonic palette, from turntable scratches and samples to the kind of atmospheric guitar washes more commonly associated with shoegaze. The result is a sound that is at once abrasive and inviting, like a velvet glove wrapped around a fistful of broken glass.

On Live From Toad Hall, this eclecticism is on full display. "Bring Out Your Dead," the EP's lead single, leans heavily into dream-pop territory, with its shimmering guitars and almost ethereal vocal delivery. It's a track that could easily find a home on a playlist alongside Cocteau Twins or Slowdive, yet it retains the band's signature edge—a sense of unease lurking just beneath the surface. Other tracks, like "T.U.X," are more aggressive, driven by a relentless rhythm section and vocals that veer between a croon and a snarl. The juxtaposition of these moods within a single release is part of what makes Horror In Clay so compelling; they refuse to be boxed in by genre conventions.

The band's rhythm section deserves special mention. The bass and drums on Live From Toad Hall are not mere accompaniment; they are the foundation upon which the entire edifice of sound is built. Tight, foreboding, and unyielding, they provide the anchor that allows the guitars and vocals to wander into more experimental territory. It's a dynamic that has become a hallmark of Horror In Clay's live performances as well, where the interplay between the band members creates a tension that is palpable in the room. The EP captures that energy, bottling the live experience in a way that feels immediate and visceral.

The Art of the Physical Release: Cassettes and Found Photo Books

In an era dominated by streaming, Horror In Clay remains committed to the physical artifact. The cassette release of Live From Toad Hall is not merely a novelty; it is an integral part of the band's artistic vision. The decision to pair the cassette with an art book was born from a desire to create a complete sensory experience—one that engages the listener's eyes as much as their ears. The art book features works from the band members themselves, offering a visual counterpart to the music's dark, textured landscapes.

Casey explains the genesis of the art book with characteristic nonchalance. "We found these photo books in the trash," he says, "and decided to pimp them out." The result is a collection of altered images, collages, and original artwork that feels both handmade and deeply personal. Each copy is unique in its own way, a testament to the band's DIY ethos. The art book is not an afterthought; it is a co-equal component of the release, designed to be pored over while the cassette spins in the deck. For fans of physical media, it is a treasure trove of hidden details and cryptic references.

The cassette itself is a nod to the format's enduring appeal among underground music communities. There is something inherently tactile about the cassette—the click of the play button, the hiss of the tape, the need to physically flip it over halfway through. It demands a different kind of engagement than a digital stream, one that is more deliberate and immersive. For Horror In Clay, that engagement is essential. "We want people to sit with the music," Casey says. "Not just have it on in the background while they're doing the dishes." The cassette format, with its inherent limitations and charms, encourages that kind of focused listening.

Remi Salvador and the Evergreen Mastering Touch

The mastering of Live From Toad Hall was entrusted to Remi Salvador at Evergreen Mastering, a choice that speaks to the band's commitment to sonic excellence. Salvador's pedigree is well-established within the MUZAI Records ecosystem, having helmed mastering duties on GPOGP's Scrying In Infirmary Architecture, Songs of Sodomy & The Compost of Aethyr, and their split with Log Horn Breed. His approach to mastering is both technical and intuitive, balancing the need for clarity and punch with a respect for the music's raw, unpolished edges.

Casey recounts the origin of their collaboration with Salvador. "Remi hit me up years ago," he says. "He was into what we were up to. He is very excellent so we hit him up on doing this." The mutual respect between artist and engineer is evident in the final product. Salvador's mastering brings a new level of cohesion to the EP, smoothing out the rough transitions between tracks recorded at different times and under different circumstances. The result is a listening experience that feels unified, as though the songs were always meant to be heard together.

The remastering process also allowed the band to revisit their older material with fresh ears. "It was like hearing the songs for the first time again," Casey says. "Remi brought out details we didn't even know were there." For long-time fans, this means that familiar tracks like "Burnt Hands" reveal new layers upon repeated listens. For newcomers, it means that Live From Toad Hall serves as an ideal entry point into Horror In Clay's discography—a comprehensive overview of the band's range and vision.

What's Next for Horror In Clay

With Live From Toad Hall set for release on June 4th, 2021, the question on everyone's mind is: what comes next? Horror In Clay has never been a band to rest on their laurels, and the creative momentum behind this EP suggests that more material is already in the works. While no official announcements have been made, the band's track record of prolific output—standalone singles, collaborations, and now a cohesive EP—indicates that the well is far from dry.

Casey is characteristically coy about the band's future plans. "We've got some stuff cooking," he says with a grin. "But you'll have to wait and see." In the meantime, fans can immerse themselves in the world of Live From Toad Hall, exploring its sonic depths and visual intricacies. The release is a testament to Horror In Clay's unique position within the MUZAI Records roster—a band that defies easy categorization while remaining unmistakably themselves.

For those eager to dive deeper into the MUZAI Records catalog, be sure to check out other releases in the Album Releases and EPs categories. And for a taste of something completely different, don't miss DUHKQUNT – SPACE COMMUNION, another recent addition to the label's ever-expanding universe of sound. Horror In Clay's Live From Toad Hall is more than just a collection of songs; it is an invitation to step into a world where the boundaries between dream and nightmare blur, and the only way out is through.