Malocchio Reivew + Bonus Interviews
Bayway's first release with Trustkill is pure fire
Bayway’s new single, “Malocchio,” is a ferocious declaration of intent, marking their explosive debut with Trustkill Records—the label’s first signing in 18 years. Recorded and produced entirely by frontman Jayway at Bayway Studios, this track is a masterclass in raw, unfiltered aggression, blending the visceral energy of New Jersey hardcore with a hip-hop-infused edge that demands attention. With a full album slated for July 4, 2025, “Malocchio” sets a high bar, showcasing a band poised to dominate the heavy music scene.
From the opening notes of the drop-C guitars, “Malocchio” grabs you by the throat with jagged riffs that carry the same chaotic intensity as Biohazard or even System of a Down’s early work. It’s a fair comparison—not just in sound but in ambition. Bayway’s trajectory, fueled by their relentless DIY ethos and growing fanbase, suggests they could one day sell out arenas like SOAD or Avenged Sevenfold.
Drummer Dave Mericle lays down tight, forceful beats, syncing seamlessly with Diego Galarraga’s deep, driving bass to form a rock-solid rhythm section. Guitarists Chris Halpin and Tito Valentin contribute thick, heavy riffs that hit with precision, adding to the song’s intense, forward-moving energy.
At the heart of “Malocchio” is Jayway’s commanding vocal performance. His delivery is crisp, clear, and the rhythmic cadence of hip-hop is dripping with streetwise swagger and hardcore aggression.His enunciated lyrics tackle themes of inauthenticity and struggle and complement the chaotic instruments underneath. Jayway’s ability to weave personal and universal narratives into his signature style is exactly what someone carrying on the traditions of hardcore frontman and MC would need to make it work. It’s raw, in your face, and energetic.
The breakdown and New Jersey chant that begin at 1:55 are going to become legendary fan favorites and lead to some gnarly pits at shows. Heavy, chugging guitars and a New Jersey chant that’s equal parts battle cry and hometown pride lead into the final verse like the band is about to start a street fight. It’s the kind of anthemic, communal energy that defines hardcore’s live experience, and Bayway nails it with authenticity and power.
“Malocchio” is a strong, confident single that highlights Bayway’s potential to make waves in hardcore and beyond, especially now with Josh and Trustkill in the mix. Jayway’s hands-on production keeps the sound gritty yet clear, allowing every element—from the pounding drums to the sharp vocals—to have their moment. Trustkill’s faith in Bayway feels well-placed, as this track captures the raw power and authenticity that define the label’s legacy. Fans of heavy music with a lyrical edge will find plenty to love here, and “Malocchio” sets high expectations for the album to come.
Full Q&A with Jay on Producing Hardcore
We were fortunate enough to interview Jay not long ago about his approach in the studio. Below is the full Q&A behind the article.
NOISE PROTOCOL: Hardcore music is renowned for its raw energy during live performances. How do you translate that intensity into your recordings
JAYWAY: I couldn't agree with you more. I really stress the importance of understanding that we aren't shooting for perfection. A lot of the current product that is being put out doesn't even sound human. To me hardcore is very much about the human experience and in order to capture that we must capture the mistakes made along the way. The raw aspect of hardcore is what drew me in as a listener many years ago and it's most important in my opinion to capture the true performance of the song in that moment. I don't stress the timing, the little mistakes or even the background noises. I focus heavily on capturing the vibe of the moment and what is happening between the people creating it.
NP: Are there specific recording techniques you use to achieve the aggressive sound characteristic of Bayway and other hardcore bands you've produced?
JAY: Bayway has been a work in progress from the demo to present day. I have used a lot of different techniques and its been a journey for me. Some of it has worked in my opinion and some of it hasn't. I really enjoy recording a band in a live setting and getting the real feel of the drummer. I feel like when you start to involve a click, although easier when it's time to edit, you lose the natural feel of the song. In hardcore (especially present day) the tempo changes are very important in terms of keeping a listener engaged and I haven't found too much success in the creation of a tempo map when shooting for a raw and real feel.
NP: Tell me about the "ignorant snare sound” - is there a story behind it? I think your snares sound cool (almost reminds me of St. Anger in a good way).
JAY: The first hardcore record that I truly fell in love with was E-Town Concrete "Time 2 Shine" and on this record was a very iconic snare sound. I have had the opportunity to talk with the drummer of the band and also the man behind the mixing board about how they achieved such an iconic snare tone. It really stuck out to me. As I grew up in hardcore and eventually found other extreme metal and things like, that I was always drawn to the high pitch crack of the piccolo snare drum. It is used in a lot of hip hop influenced records. Listening to hip hop as a kid the snare is such a focal point on every record and they always had these layered clap, stick hit, rim shot sounds. When recording Bayway's early stuff I just wanted to emulate that stuff I loved growing up. Now its more about getting an actual snare tone instead of dropping a track to midi and using the same Joey Jordison snare that everyone on earth can get their hands on.
NP: What is the "traditional hardcore sound" to you? How do you balance that with modern influences in your production work?
JAY: It's a tough question to answer really because hardcore, whether it was the 80's, 90's or early 2000's, has really changed a lot in terms of production. I will be honest I don't focus much on the modern influences because to me much of today's music production sounds the same. The bands coming out are creating really cool unique stuff, but when they get into the studio it's the same midi drums over and over again. I understand it from a bass drum perspective but there are a lot of things that you can do to get a lot more out of your drums, and when people take the time to do it, it really shows up on the record. I really like the way the first Gorilla Biscuits record sounds. In the 90s I really enjoyed the production on the Downset record as well as Hatebreed’s Satisfaction is the Death of Desire. In the 2000's I thought Hatebreed’s Perseverance really took the production of a hardcore band to the next level.
NP: How has your approach to producing hardcore music evolved since you started, and what have been the significant influences on this evolution?
JAY: I started out on a fostex. I believe it had 4 or 6 tracks on it and it was super raw. I would record everything in a friend's basement, mix it on the machine itself, and bounce it to a computer to "Master" it. I have come a long way since then! I worked for a short time at Birch Hill and later Starland Ballroom which allowed me to understand some of the mic’ing techniques for more harsh sounding music. Most of what I know now is from old school trial and error. I didn't have a mentor or someone to bring me up in this shit. I just was poor and couldn't afford to be in a studio so little by little I purchased stuff until I was able to build one of my own. Shout out to Sweetwater two years 0% interest. I learn best from the mistakes that I make and try to fail forward. I had an eye opening conversation with Ant Martini about what I will do when music is taken over by AI that changed my perspective on mixing and really pushed me to think outside the box. I think a lot of my success has come from not being afraid to be different.
NP: Did you start with writing/performing or producing music first? Did that impact your approach to both disciplines?
JAY: Playing drums was first for me. I started around five. I moved to guitar in my early teens, learned a few covers and immediately thought of myself as a writer. I had zero knowledge of how to write a song and absolutely no formal training on the subject. There I was, armed with only my ears and a strong opinion about what I likedm creating music that was terrible but progressively got better. I got into producing because I noticed that naturally no matter which band I was involved with I assumed this role of the person who put together the songs. It kept happening over and over again and eventually I just sort of figured out that I enjoyed it. I remember producing a record for a band called Fall Back in my moms basement and its when I realized that I was "producing", I was going over the lyrics and how the song was to be sang with the singer and really arranging the track the way I thought it should be done. Many years later I am still doing that with the bands that come in as well as my own band and I absolutely love and enjoy every second of it.
I believe that seeing what worked in a live scenario helped to shape the way I produced music. Having a knack for getting a crowd to move certainly influenced the way I look at songwriting and production. Many people have said to me that I have the ability to see music as a whole. Sort of like seeing the bigger picture. Understanding where a song is going is definitely a direct result of writing and performing before producing.
NP: What are some common challenges hardcore bands face in the studio?
JAY: I would say the most challenging part for any musician in the studio or just in general is self doubt. Striving for perfection and not understanding that how you play it may actually be more important than what you have predetermined or everyone has predetermined is correct.
NP: Does your production approach change whether you're working with Bayway vs another band?
JAY: My production approach changes with each project. I never want to do the same record twice. I am currently working on two different records at the moment and one is a metalcore project that is low tuned, emotional and chaotic. The other is a Oi/Punk record that borders traditional rock and roll vibes while touching on some hardcore influence. It would be a disservice to give either one of those bands the same production as a hip hop influenced hardcore band!
NP: Any words of advice for up and coming hardcore bands going into the studio for the first time?
JAY: Have your shit together. Don't walk into the studio with unfinished songs/lyrics unless it's been previously discussed that writing will be taking place. Be open to ideas and suggestions remembering that while you are in love with what you are doing, there may be a good idea other than the original idea that sparked it. Change your strings and rehearse the songs with your drummer so you can save time and not have to rush your vocalist.
NP: Anything I didn't ask about that you think is an important part of the story?
JAY: Never allow yourself to feel like you can't do something someone else is doing. I have struggled for years with imposter syndrome. What I have found is that as a unique individual I have something to offer the world no one else can. I am me and there is no other person that is exactly like me. Follow your gut instinct and don't mix anything 50 times. Chances are the third one where you made the guitars slightly louder and removed all the reverb you thought was cool on the vocals fucking rules.
Full Q&A with Jayway on Hip Hop & Hardcore
We interviewed Jay as part of our feature on the intersection between hip hop and punk rock. Below is the full Q&A.
NOISE PROTOCOL: Hardcore and hip-hop have a long history of crossover, from the Beastie Boys to E-Town Concrete and many many more. What was your first exposure to both genres, and when did you start seeing the connections between them?
JAY: So as a kid my first exposure to the rap-rock thing was probably Aerosmith's “Walk This Way” featuring Run DMC. Both my parents really fucked with Aerosmith and the song was a massive hit so it was pretty unavoidable. My earliest memory I can think of where I recall thinking, “man this is cool,” was Tone Loc's “Wild Thing,” where there were prominent guitars and that epic drum fill. As time went on the stuff that comes to mind was Red Hot Chili Peppers and Faith No More infusing it into their songs that were on pop radio, but to be honest I never really fucked with heavy music when I was a kid. I was hugely into hip hop and didn't care much for the heavier stuff until I hit my teens. The first three hardcore records I got were off my sister Lisa and they were Downset, Etown's Time 2 Shine and Hatebreed Satisfaction is the Death of Desire. Without these three records I don't know if I would have ever even listened to hardcore at all.
NP: Did you grow up in a scene where hip-hop and hardcore coexisted, or did you come to one genre before the other?
JAY: Coming up in the New Jersey Hardcore Scene at the time when I did there was a ton of crossover and genre blending. Bands like E-town Concrete, NJ Bloodline, One4One, Fury of Five, and Agents of Man were all the stuff we looked up to in hardcore at the time. They were all doing their own form of hip hop influenced hardcore. Some of the bands had full rap tracks and full sections of songs where it was only rapping and no screaming at all. I don't remember too much in terms of crossover like mixed bill shows other than that Family Values Tour with Ice Cube that was pretty insane.
NP: Can you point to specific hip-hop artists or albums that shaped your musical approach, either as a frontman or a producer?
JAY: Nas Illmatic is probably the first record that comes to mind in terms of influence on how I write. He used the world around him and gave you his perspective and it created a raw realness that always grabbed ahold of me and kept me hanging on to his every word. In terms of performance, Biggie really knew how to work a crowd. He was a huge larger than life guy but his energy on stage was crazy. Seeing DMX play Woodstock helped to shape me in terms of a high energy performance and making sure to leave it all out on the stage.
NP: What elements of hip-hop do you consciously bring into your hardcore music, whether it's flow, delivery, sampling, or production techniques?
JAY: In terms of production I use a lot of bass tricks and that high pitched snare to give it a hip hop feel. It creates a raw vibe that is similar to that 90's sound that I really loved on Big L's Lifestyles record. Vocally I don't approach my vocals from the perspective of a screamer. I sing over everything too, similar to hip hop. They use their voice as an almost percussive instrument. I try to create something different from what the music is actually doing and worry more about my flow and the spacing of the words. To me hip hop, especially in the 90s, was about a call and response and that's what I try to bring to every song because so much of hardcore is crowd participation. That's what I always loved to see and pulled me in as a kid.
NP: What’s your take on hardcore’s long relationship with hip-hop, especially within New Jersey and New York? Do you think the connection is stronger in certain regions?
JAY: I used to believe that the connection was stronger in certain regions. For a long time a lot of the bands that had hip hop influence would only do well in certain markets as they got out and toured. Things have changed drastically as more and more people have been exposed to different styles of music via social media platforms and the ability to download and stream so freely. The roots are certainly strong in the tri-state area in terms of hip hop's influence on hardcore. The fashion, the terminology, and the culture are very similar. You look at the graffiti that is so heavily associated with NYHC and the us against them mentality. Hip hop was born in New York so it would basically be impossible for the influence to not be the strongest there.
NP: Rhythm and cadence are key in both genres. Do you approach vocal delivery more like a hardcore frontman or like an MC?
JAY: For me cadence is everything. I focus heavily on my delivery and try to create unique ways of getting my point across that stick in your head. I can't say either way which approach I take because I am certainly both. A lot of it depends on what the song calls for. In my mind a true MC is someone who is narrating the world around them. That's what separates it. When writing lyrics I speak on topics that are deeper and talk about more personal things in order to tell a story so in that regard I believe I approach it more as an MC.
NP: Do you think hardcore and hip-hop serve the same function for different communities? Both have roots in urban environments, both were once underground movements—what do you think draws people to both genres?
JAY: Anytime you have an underground movement you have a culture surrounding it and I believe that is what draws people to it. Within each genre you can get anything that you want. They were born from different movements and gave voices to people who needed them. They both created space for people to freely discuss what was going on in their worlds. It platformed political movements and ideologies that changed the world we currently live in. I am in no way an expert so I can't say that they serve the same function. All I can say is that my life is certainly better because of the outlet they provided me and I am sure many feel the same way.
NP: What do you think makes a good crossover between hardcore and hip-hop? Is it about authenticity, attitude, or something more technical?
JAY: Authenticity will always be my answer here. Sorry to keep this one short but there is nothing more important and you can hear the difference.
NP: Do you see similarities in how both communities operate? I’m thinking along the lines of zines, mixtapes, street teams.
JAY: The similarities are everywhere and it's beautiful. The aggression in the music and its ability to uplift its community. The openness and willingness to promote self expression. The fashion. The communities that surround it. The obsessive collectors. The “name five albums” kids. The rare vinyl. The street vibe and rawness. They run parallel and in the present form of both genres they are influencing each other constantly.
NP: There’s often criticism when hardcore leans too far into hip-hop or vice versa. Do you think those genre purists are missing the point?
JAY: I don't believe they are missing the point. Sometimes things just aren't for certain people. It can be as easy as I don't like this and this isn't for me. Not everything is for everyone. Growing up where I did I am just used to a mix of cultures. I love when people step outside the box of what's perceived as normal and do their own thing and in many ways I think that is what this is. It's certainly not for everyone but neither is the purest death metal band.
NP: If someone’s a hardcore kid but hasn’t really explored hip-hop, where would you tell them to start? Likewise, if a hip-hop kid wanted to check out hardcore, what bands would you recommend?
JAY: If you are a hip hop kid and you are interested in getting into hardcore I would most likely play Etown Concretes The Renaissance cause it's easily palatable and on the heavier side and won't immediately be too harsh for the ears of the listener. On the reverse side of this if you love hardcore and have never heard hip hop which to me is a crazy concept I would probably play Onyx cause the rugged yelling aspect of their music would probably be the most appealing.
Hardcore for hip hop kids:
Newer Bands:
Missing Link
Big Boy
Outta Pocket
Bayway (Obviously)
Older Bands:
E-Town Concrete
Biohazard
Downset
Madball
Hip hop for hardcore kids:
Newer artists:
Suicide Boys
City Morgue
Shakewell
Older artists:
Big L
Nas
Onyx