Posts Tagged ‘Audio Stream’

Divide and Dissolve sign to Bella Union and share the brand new single "Monolithic" as their North American tour dates commence. A new album is expected in 2025.

Monolithic is a prayer for systems of liberation, freedom, Indigenous sovereignty, and for a Black future. This song is hope for the seemingly impossible and for things that have never been seen or experienced in many lifetimes. Where no memories have been created. – Takiaya Reed

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Divide and Dissolve’s music is an acknowledgement of the dispossession that occurs due to colonial violence, it honours ancestors, opposes white supremacy and calls for indigenous sovereignty.

Takiaya Reed’s dense sound is overwhelmingly heavy; a dissonant pounding of percussion, guitars, piano, synths and saxophone, interwoven with passages of orchestral beauty that give a feeling of respite.

Divide and Dissolve have released four full-length albums to date; Basic (2017, DERO), Abomination (2018, DERO), Gas Lit (2021, Invada) – which was hailed Mary Anne Hobbs’ Album of the Year, and was complimented by the Gas Lit remix EP, including reworkings by Moor Mother, Chelsea Wolfe and Bearcat. Most recently the band released Systemic (2023, Invada), and plan to follow up with their Bella Union debut in 2025.

Catch Divide and Dissolve supporting Systemic for the final time this year across North America – dates below.

Upcoming live dates:

9/12 Houston, TX @ White Oak Music Hall Upstairs

9/13 Austin, TX @ The Ballroom

9/14 Denton, TX @ Rubber Gloves

9/16 Albuquerque, NM @ Sister

9/17 Phoenix, AZ @ The Rebel Lounge

9/18 Santa Ana, CA @ Constellation Room

9/19 West Hollywood, CA @ Troubadour

9/20 San Francisco, CA @ Bottom of The Hill

9/21 – Sacramento, CA @ Goldfield Trading Post

9/23 Portland, OR @ Mississippi Studios

9/24 Seattle, WA @ The Sunset

9/26 Boise, ID @ Neurolux

9/27 Salt Lake City, UT @ The DLC

9/28 Englewood, CO @ Moes

10/1 Minneapolis, MN @ 7th St. Entry

10/2 Chicago, IL @ Cobra Lounge

10/3 Columbus, OH @ Rumba

10/4 New Kensington, PA @ Preserving Underground

10/5 Buffalo, NY @ Rec Room

10/6 Toronto, ON @ Lee’s Palace

10/9 Montreal, QC @ Bar le Ritz PDB

10/10 Cambridge, MA @ The Middle East Upstairs

10/11 Brooklyn, NY @ Elsewhere Zone One

10/12 Philadelphia, PA @ MilkBoy

10/15 Baltimore, MD @ Metro Gallery

10/16 Richmond, VA @ Richmond Music Hall

10/17 Chapel Hill, NC @ Local 506

10/18 Atlanta, GA @ The EARL

10/19 New Orleans, LA @ Siberia

US Black Metal innovators NACHTMYSTIUM drop the next advance single ‘A Slow Decay’ taken from their forthcoming ninth album Blight Privilege. The full-length has been scheduled for release on All Saints’ Day, November 1, 2024.

NACHTMYSTIUM comment: “The song ‘A Slow Decay’ concerns itself with the disintegration of society that is going on all around us”, mastermind Blake Judd muses. “It does not even matter which side you are on. We are all being played.”

Listen here:

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Demon Head is proud to announce the release of Through Holes Shine the Stars on Svart Records. The album is the fifth full-length from the band that celebrated their first 10 years of existence last year, and it is undoubtedly another milestone on their tireless – and very own – path through the wilderness. It is a deeper, darker well of tones and melodies than before, while being significantly more extroverted than their last releases. All in the seemingly effortless, strangely catchy, and unique manner that Demon Head have become known for.

Bassist Mikkel Fuglsang reflects on the creative leap between this new material and their previous efforts: “Our first four records can be seen as the pillars creating a structure in order to reach the new level that this undoubtedly is forus.”

The eight songs were written collectively during several concentrated sessions from 2019–2022 and recorded entirely by the band themselves from October 2022 to March 2023 in their own studios in Copenhagen and the west coast of Ireland. Guitarist, vocalist and multi-instrumentalist producer, Birk Gjerlufsen Nielsen expands on the process: “This long and careful process has allowed us to reach a balance between structural precision and artistic expansion, melodic simplicity, and compositional depth. It feels like we’ve uncovered every possibility within each of these songs without losing track of the original nerve.”

In continuation of previous collaborations, Demon Head have mixed the album with the legendary engineer and producer Flemming Rasmussen (Metallica, Morbid Angel, Ensiferum, etc.) in Sweet Silence Studios. Vocalist and recording engineer Marcus Ferreira Larsen remarks: “Like any true master Flemming has created a direct and hard-hitting, transparent mix that does nothing but enhance what is already communicated in the compositions and the performance. He helped us place everything in the landscape that we’ve carved through recording everything ourselves once again.”

With a running time of 47 minutes, this is Demon Head’s most extensive work to date. Birk Gjerlufsen Nielsencomments on one of the songs: “’The Chalice’ opens with a discordant anthem that unbelievably enough combines the qualities of late Scott Walker with Europe’s ‘The Final Countdown’. It’s a good introduction to how Marcus and I have worked closely together on complimenting each other’s voices. It’s consistent that we sing together throughout the whole record. Between the two of us there’s a balance of equal parts raw charm and melodic desperation”.

Birk Gjerlufsen Nielsen continues: “Songs like ‘Our Winged Mother’ and ‘Every Flatworm’ move effortlessly through heavy riffs, woodwind arrangements and tape-manipulated percussion sections that certainly pays homage to Conrad Schnitzlers work on Silvester Anfang of Mayhem’s Death Crush.

“Birks excellently executed – and frankly, wild – singing is humble but devastating in its emotion, and this voice finally takes a more front-stage place on this record”, Marcus Ferreira Larsen says.

On the lyrical front, Through Holes Shine the Stars is also a leap forward, as the lyrics are both more immediate and more poetic, reading like short stories but wrought out with a nerve that leaves no doubt as to the meanings these carry for the singers and the band. It seems that they could all take place tomorrow or in the distant future or past. The threads that emerge from the stories weave through moments of explosion, moments of grief, existential despair, and faint but adamantine hope.

The musical narrative ends with the two lengthy cuts ‘Frost’ and ‘This Vessel Is Willing’. Birk Gjerlufsen Nielsen: “’Frost’ is a many-faced exploration of known textures. It’s almost a celebration of the rhythmic music that’s inspired us through the years. It culminates in an epic double guitar solo between Anders M. Jørgensen (Slaegt, Scimitar) and – on this rare occasion – me. ‘This Vessel Is Willing’ is sort of an epilogue if you will. The composition is part improvisation, part rearranged collage work of a blown-out and late-night session we had with Adam CCsquele from Slaegt (and a thousand other projects) on drums. A friend of ours, Jim Slade, joined on bass clarinet and my brother Thor picked up some detuned guitar and used a bow on it. I took the whole thing back to Ireland and supported the dynamics with different tape-manipulation techniques and woodwind arrangements. Marcus’ vocals are pure prophetic desperation, and I think you can hear how it physically hurt him to strain to the extremes he went through in this performance”.

This unearthly conclusion makes it clear that the determined musical exploration that Demon Head have practiced since the very beginning is not yet over but might suggest that a new era has begun. Vocalist and lyricist Marcus Ferreira concludes on the collective drive behind the work on this record: “These eight new songs are like a prism of despair through which we try to convey a state of liminality, where moments of faint hope urgency rub shoulders with bursts of surreal and playful absurdity, all cast against the background of despair as void as the night sky through which these stars shine”.

Listen to ‘Every Flatworm’ here:

Demon Head · Every Flatworm

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Credit: Jeppe Wittus

Demon Head (dk/ie/se) – “Burning Arrows” tour

26.09 Montpellier, FR – Secret Place TAF

27.09 Barcelona, ES – Sala Upload

28.09 Auzas, FR -  L’Homme Sauvage Festival

29.09 Paris, FR – TBC

30.09 London, UK – New Cross Inn

01.10 Brussels, BE -  La Brasserie de la Source

02.10 TBC

03.10 Drachten, NL – Iduna

04.10 Aarhus, DK – HeadQuarters

05.10 Stockholm, SWE – FGT Geronimos

06.10 Copenhagen, DK – Pumpehuset: ‘Through Holes Shine the Stars’ release show w/ Spiracle & Scimitar

Jason Blackmore (Molly McGuire) and Mario Quintero (Spotlights) have combined forces with their new band known as SISTERS.

The duo’s new single "Through The Cracks" appears on the upcoming album Leecheater, which will be released August 25th on Spartan Records.

Listen here:

Blackmore says, “’Through The Cracks’ was actually a last minute song. I came up with the riffs for the song the morning of the day before I was flying home from our second recording session. Mario had come down to the studio that morning and I showed him the riffs. While he went upstairs to get coffee, I threw together the structure and then we just recorded it. I walked around the block to come up with the verse lyrics and melodies. We recorded my vocals after we recorded the music and while I was doing my vocals Mario came up with the chorus lyrics and melody. We slapped some vocals on the bridge and did a couple guitar overdubs and voila. Basically it’s a song about a person having a midlife crisis. Or that’s how I perceive it at least.”

The album, Leecheater, is a tour-de-force of heavy, atmospheric rock. Featuring powerful, distorted guitar riffs, driving rhythms, and Jason Blackmore’s distinctive vocals, Leecheater is a gripping and immersive listening experience that showcases the band’s ability to create big sonic soundscapes that push the boundaries of modern rock.

With its lush production and dynamic arrangements, Leecheater is a must-listen for fans of heavy, atmospheric music and is sure to cement Sisters’ place as one of the most exciting and innovative bands in the contemporary rock scene.

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Photo: Chad Kelco

FEN release the dark monumental track ‘Wracked’ as the final single taken from the East Anglians’ forthcoming album Monuments to Absence, which is chalked up for release on July 7, 2023.

FEN comment on ‘Wracked’: “There are days when one is struck by a sense of such overwhelming black despair that it strikes almost as a physical force”, mastermind Frank “The Watcher” Allain writes. “We are literally wracked with sorrow, so overcome with the deepest sadness that it hits like a blow – staggering one backwards, grinding us to a halt. At such moments, one can only wait for the wave to subside, to retreat into the dark, yawning chasm of one’s own mind; and hope that the storm will pass as swiftly as possible. ‘Wracked’ speaks of those days.”

Listen to this nine-minute monster here:

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Who are we? Where do we go? These are the kind of existential questions that have arisen for many of us during these last years and that have also been haunting DISILLUSION during the process of creating their fourth full-length Ayam. Without a chance to perform live and their personal lives also being affected by many restrictions the focus of the German avant-gardists shifted fully towards their band and the creation of new songs as well as recording. The effect is audible: Ayam sounds richer, even more multi-layered, and fully matured compared to the already highly praised previous releases. Yet the intricacies of their music are never just a means to an end, but more than anything all the complexity is subjugated to serve the inner feeling and cinematic aspect of each song itself. 

The thematic questions and multi-dimensional layers of the songs are also reflected in the album title Ayam. The word derives from Sanskrit and means "This One". Pronounced in English it sounds like "I am", while reading it backwards turns it into "Maya", which is neither an accident nor explained by the band that obviously likes to offer riddles.

While DISILLUSION stuck closer together, they were also searching their hearts whether it was time to change old habits and try out something new. This led to the excellent decision to leave the mix of the album to different ears than the bands’ for the first time. Their choice could not have been better as renowned producer Jens Bogren (OPETH, KATATONIA, MOONSPELL) once again worked his exciting magic and enhanced their already unique sound by shining a sonic spotlight to the most important aspects such as the vocals.    
Founded around singer and guitarist Andy Schmidt in the East Germany city of Zwickau in 1994, DISILLUSION pulled the rare trick of already becoming a staple in the field of avant-garde melodic death metal with the release of their full-length debut "Back to Times of Splendor" in 2004. The Germans have always been driven to seek new challenges and find new ways to evolve their music, which was exemplified by the following album "Gloria" that took radical musical steps in several directions at the same time. "Gloria" was far ahead of its time in terms of composition and sound, which becomes apparent when compared to GOJIRA’s masterpiece "Magma" for example that came out a decade later.

Despite their early success, DISILLUSION took a creative hiatus until suddenly returning in 2016 with the single "Alea" and a new line-up that had changed in several positions. Quite likely even to the band’s surprise, a large and loyal fan base had formed during the decade of their absence, which showed in sold out shows and a highly successful crowdfunding campaign to realise a new album, which the Germans repeated for Ayam.

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When The Liberation was released in 2019, critics described the album as a logical continuation of Back to Times of Splendor. Its songs reflected 15 years of additional experience in the musical development of Andy Schmidt. "The Liberation" turbo-charged all of DISILLUSION’s best qualities: the perfect interplay of massive metal with moments of pure euphoria and quiet introspection that create a sonic rollercoaster ride of passionate emotions.

With Ayam, DISILLUSION again sail among the stars to new stellar constellations of heavy sounds. While staying true to their general course, the German avant-garde pioneers also continue dropping anchor to explore new planets sparkling in space with a multitude of radiant sounds. "Ayam" offers exciting evolution rather than radical revolution, and DISILLUSION’s new musical forms and means are most beautiful and astonishing to behold. This album is a golden ticket to join the extraordinary journey of a life-time. Please feel free to check-in anytime you like!

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Seattle’s Calm Collapse Release ‘Sounds God’ the next single off the forthcoming album Mirrored Nature –out November 25

Featuring a roster of indie rock nobility – Doug Lorig (Roadside Monument), Rob Smith (Traindodge, Museum of Light), Jon Pease (Medicine Bows), the album was recorded With Matt Bayles (Botch, Mastodon, Minus The Bear).

Watch the video here:

After meeting at a show in Seattle, Lorig and Smith began to build the framework for what would ultimately become the band’s debut record, Mirrored Nature. "From the early days we documented and cataloged almost every riff, song idea, arrangement, tweak, etc., iterating through so many changes to create a finalized version of these songs," says Pease, who solidified the band’s lineup shortly after its inception. "Everything that is heard on this record is extremely intentional. Not to say that we didn’t experiment or have happy accidents in the recording process. But we combed through and dissected all of our parts to craft something with intention." The sonic result is driving, angsty, and propulsive, but still open and spacious. The grind of Melvins, the melodic discernment of Chavez, and the ethereal tendencies of Grails and Black Mountain.

With so much experience and groundwork laid with previous projects, a guiding force for Calm Collapse was continuing to chart familiar waters, but in a new and fresh direction. "For me, the last couple of bands that I’ve been in have generally been more heavy than other previous projects I’ve done. But with this project, I didn’t want it to be one-dimensional," says Lorig. "It’s generally the kind of music that I’ve been writing for years. Songwriting has always been a tedious process for me. I generally write in bunches but with long lapses in between, so some of these songs or parts have been kicking around for several years — I just needed the right couple of guys to be able to finally flesh these ideas out." Smith adds, "[Doug’s] ideas are by and large more rhythmically and harmonically complex than my other bands, so sometimes he needs to just play them for a while before I can find a way in. It can be weeks of messing with an idea before it takes the shape of a song." The result of this project is a propulsive and heavy listening experience, punctuated by memorable melodies and cinematic and ambient arrangements. "Even though a lot of our album is on the heavier side, we did not want to trap ourselves in," says Lorig. "The album goes in several directions — we did not want to follow the common things that heavy bands seem to do. We all had a common goal to write songs that had movement and took us places."

In order to bring Mirrored Nature to life, the band brought in acclaimed producer Matt Bayles (Mastodon, Foxing, Isis) to help execute the vision. "We knew for our music to come across convincingly that the record had to be produced at a higher level. This is why we went with Matt Bayles. I have worked with Matt on a previous couple other projects over the years, so I knew what we were going to be getting. I can say that it definitely was not the easiest thing I’ve ever done — quite the contrast, it was probably the hardest record that I’ve done, but the end product is everything that I had hoped it would be. It sounds huge and expansive," says Lorig. "Matt definitely challenged us to a high standard during the production phase, but it paid off in a huge way," says Pease. "I think because we were so invested and prepared to craft this record, Matt stepped up to meet us there. He really put in a lot of care and detail in the recording, mixing, and production phases that makes this record sound as great as it does."

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The Stockholm based quartet The Hanged Man was formed back in 2013 as the solo project of Rebecka Rolfart (Those Dancing Days, Vulkano, Second Oracle etc). She’s since been joined by Dennis Egberth (Saigon etc) on drums, Elias Jungqvist (side effects, Viagra Boys etc) on keys and Mattias Gustavsson (Dungen, AOP) on bass, with Rolfart handling vocals and guitar.

Now they’re back with their third full-length album Tear It All due out on November 4 via PNKSLM Recordings, after two full-lengths and a couple of EPs with Dubious Records and Kning Disk. The new album Tear It All was recorded in Studio Rymden in Stockholm and co-produced with Daniel Bengtsson (First Aid Kit, Viagra Boys, Sudakistan etc), and the band describes it as revolving around “transformation, about tearing everything down in order to be resurrected. It is about hoping to be freed, to change, while also being about sorrow”.

On Tear It All, The Hanged Man are joined by Oskar Carls (Viagra Boys, Saigon etc) on saxophone and flute, and the album was mixed by Daniel Ögren.

Tear It All is due out on November 4 via PNKSLM Recordings on vinyl, cd and digitally.

Listen to ‘Boundless and Infinite’ as a taster now:

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Live
Nov 4 – Stockholm, Sweden – Hus 7 (w/ Holy Now, Holm, Trader)
Nov 23 – Leipzig, Germany – Noch Besser Leben
Nov 25 – Viechtach, Germany – Altes Spital
Nov 26 – Schorndorf, Germany – Manufaktur
Nov 27 – Offenbach, Germany – Hafen 2
Nov 28 – Bamberg, Germany – Live Club
Nov 29 – Hamburg, Germany – Astra Stube
Nov 30 – Copenhagen, Denmark – Råhuset

Sacred Son return in 2022 with a new album, The Foul Deth of Engelond; a black metal chronicle of the 1381 Peasant’s Revolt. Weaving historical record with speculative inversion, the album recounts this fierce and tragic Great Uprising as a proto-revolutionary moment in English history that echoes loudly into our own toxic and fragmented present. The story is presented as inspiration and allegory, with principal songwriter, Dane Cross, describing it as his ode to righteous leftwing political violence.

The Foul Deth of Engelond marks a return to the expansive sound of their debut, whilst continuing the move away from the one-person insularity that began with the sophomore effort. The road-tested four-piece band was recorded in the cold dark winter of 2020 by tube-amp maestro Chris Fullard (Ulver, Sunn O)))), Boris) at the analogue-focused Holy Mountain Studios in London. These sessions were then mixed by Randall Dunn (Wolves in the Throne Room, Earth, Kayo Dot) at his Circular Ruin studio in NYC, resulting in a rich, physical, and enveloping sound of textural layered guitar, propulsive rhythms, caustic voices, and Dunn’s signature spirit-conjuring atmospheres.

Sacred Son have also shared first single, ‘Le Blakheth’ with Dane commenting, “‘Le Blakheth’ is the third track from Sacred Son’s new album The Foul Deth of Engelond. It chronicles the bloodiest and most violent chapter of the 1381 Great Rising; when corrupt and sycophantic ruling figures were beaten and beheaded whilst their obscenely lavish buildings burned around them.”

Listen now:

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