Posts Tagged ‘epic’

After three albums, the pieces of the puzzle fit, and Havukruunu, the favourite band of the sensitive and sorrowful returns with a vengeance to blur the line between the real and unreal. The sorrowful guitars of Stefa and Bootleg-Henkka draw threatening dark shadows on the wall, Kostajainen’s drumming bombardment pulses like embers of a dying fire in the hearth. All the while, Humö’s bass guitar is clanking and wailing like the icy wind rattling windows and banging walls, as Stefa roars and channels messages from the netherworld or preaches wisdom of ancient days, backed by a choir.

Lords of Hell smile approving as the flames of hatred and cunning of their beloved sons drowns a dying old world, and heart of the earth trembles the birth of new and weird. Havukruunu is the spirit of freedom, harbinger of oblivion, and it tells you: FLY, YOU FOOLS!

Witness Havukruunu’s majestic new video for the first single and title track of the upcoming album Tavastland on Svart’s YouTube channel now:

Havukruunu’s new album TAVASTLAND tells the story of a small, strange people.

TAVASTLAND tells how in 1237 the Tavastians rose in a rebellion against the church of Christ and drove the popes naked into the frost to die. TAVASTLAND reveals our fathers’ centuries old sins and lies of consolation. TAVASTLAND speaks of him, who has become a prisoner of his home, alienated from the land of the forest and is now afraid of the dark with all lights on, surrounded by his smart devices. TAVASTLAND tells about the freedom we lost. TAVASTLAND haunts its listener to the grave, and I will personally open that grave one bleak night and steal the fading light of your sempiternal soul.”, says Stefa.

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Photo: Heidi Kosenius

Swiss black metal enigma PAYSAGE D’HIVER reveal the harsh, frost-bitten track ‘Verinnerlichung’ (‘Internalisation’) as the second epic single taken from their forthcoming third album Die Berge (‘The Mountains’), which is scheduled for release on November 8, 2024.

PAYSAGE D’HIVER comment: “The title of our new single ‘Verinnerlichung’ means internalisation”, mastermind Wintherr reveals. “The album Die Berge describes the wanderer’s final journey. As is allegedly often the case when faced with death, his life story plays out before the wanderer’s inner eye while he walks and he internalises it."

Hear ‘Verinnerlichung’ here:

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Cruel Nature Records – 27th September 2024

Christopher Nosnibor

The scene of microlabels will always give you something absent from the mainstream. I mean it’ll give you many things, but I’m talking about variety. We live in the strangest of times. Postmodernism brought simultaneously the homogenisation of mainstream culture and the evermore extreme fragmentation of everything outside the mainstream. And example of that fragmentation is the existence of Cruel Nature Records, who operate by releasing albums digitally and on cassette in small quantities. Further, the second album by Deep Fade, is typical, released in an edition of forty copies. It’s better to know your audience and operate on a sustainable model of what you can realistically sell, of course, but do take a moment to digest the numbers and the margins and all the rest here. It’s clear that this is a label run for love rather than profit.

The sad aspect of this cultural fragmentation is that so much art worthy of a wider, if not mainstream, audience simply doesn’t get the opportunity. Not that Deep Fade have mainstream potential, by any means. As evidenced on the seven tracks – or eight, depending on format – tracks on Further, Deep Fade are just too weird and lo-fi for the mainstream to accommodate them. They simply don’t conform to a single genre, and with tracks running well over eight minutes and often running beyond the ten-minute mark, they’re not likely to receive much radio airplay either.

Opener ‘Tidal’ is exemplary. Somewhere during the course of its nine minutes it transitions from being minimal bedroom pop to glitchy computer bleepage to a devastating blast of messed-up noise. Yet through it all, Amanda Votta’s vocals remain calm and smooth as she breathily weaved her way through the sludge. The twelve-minute title track veers hard into wild Americana, a mess of country and blues and slide guitar, before tapering into fuzzed-out drone guitar reminiscent of latter-day Earth. Amidst trudging drone guitar, thick with distortion, it’s hard not to feel the lo-fi pull.

We’re immensely proud to present an exclusive premier of the video for the mighty ‘Tidal’:

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‘Surge’ arrives on a raw metallic blast before yielding to a spacious echo-soaked guitar drift and some dense, grating abstractions. Texture and detail are to the fore on this layered set of compositions are by no means easy to navigate.

As the band explain, ‘The album, influenced by Neil Young and Einstürzende Neubauten, was recorded across various locations including St. John’s, Providence, Liverpool, and Edinburgh. Environmental elements play a significant role, with guitars recorded during a nor’easter and vocals captured at lighthouses, incorporating natural sounds like wind and bird calls… Toronto’s Church of the Holy Trinity and the Cowboy Junkies’ The Trinity Sessions also influenced the album’s sound, adding to its atmospheric and melancholic feel.’

Atmospheric and melancholic it is, although many of the aforementioned touchstones aren’t easy to extrapolate from the mix. Nevertheless, and you feel your stomach enter a slow churn, which is exacerbated by the low-gear drones which sound like low-circling jets – there have been a lot of those lately and the air is filled with paranoia and mounting dread right now. Further, however not only provides a sonic landscape that matches this mood, but runs far deeper into the psyche.

The acoustic ‘Little Bird’ scratches and scrapes over a fret-buzzing acoustic guitar. The fifteen-minute ‘Heartword is simply a mammoth-length surge of everything, occasionally breaking down to piano and deep tectonic grinds.

It’s fitting that Deep Fade should call their second album Further, because this is where they take things. At times it’s terrifying and at times it’s immense.

The lyrics are as breathtaking as the crushing bass on ‘Wake Me’, and the sparse arrangement of closer ‘Fixed and Faded’, with its breathy, folky vocal and crunchy overdriven guitar which drones, echoes, and sculpts magnificent spares from feedback and sustain, brings a sense of finality and offers much to digest.

The digital version includes an additional track, another monumental epic in the form of the eleven-minute ‘Hawk’, a work of haunting, spectral acoustic country: it’s one hell of a bonus worthy of what is inarguably, one hell of an album.

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Venamoris, the duo of Paula and Dave Lombardo, has signed with Ipecac Recordings, prepping a 2025 sophomore release, with a glimpse of what’s to come with today’s release of the entrancing track, ‘In The Shadows’.

“’In The Shadows’ is a song that arose from real-life feelings,” Paula Lombardo shares. “The pulsating drum wholly evocative of marching forward even when internal unrest is still close-at-hand. It is a call for self-acceptance with the heaviness of a life well lived.”

“Venamoris is such an intimate project for the two of us,” adds Dave Lombardo. “To have our sophomore album in Ipecac’s exceptionally skilled hands is a dream realised. We are ecstatic to be a part of this audacious label.”

Venamoris captures the essence of a sound that is alluring and deeply emotional, blending sultry vocals with mesmerising instrumentation to create an enveloping experience that is as hypnotic as it is emotionally charged. Like a whispered secret, there’s something seductive yet provocative about the noir-tinged songs they create. Brooklyn Vegan, describing an earlier single, adeptly said Venamoris has “Portishead meets David Lynch vibes."

Watch the video here:

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Summer has come to an end, all swallows have left the north, and autumn is already knocking on doors and windows with gusts of wind and rain. When the first leaves are falling, it is also time for melancholic tunes. WHISPERING VOID has the perfect offer for this darkening season: the eponymous song that gave the collective of renowned musicians from Norway’s west coast their name. ‘Whispering Void’ is taken from their forthcoming debut album At the Sound of the Heart, which has been scheduled for release on October 18, 2024.

WHISPERING VOID comment: “Lyrically, ‘Whispering Void’ combines all the elements of this album”, vocalist Kristian Espedal reveals. “The slow, gracious movements of the music evoke the innocence of natural beings moving through a forest, as acted out by the vocals in the verses. This song also features our third ‘outside’ collaborator, Matias Monsen from the band DROTT is playing the cello.”

Listen to this gloriously epic tune here:

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The collective of renowned musicians from Norway’s west coast known as WHISPERING VOID is releasing the single ‘Vinden vier’ (‘The Wind Sanctifies’) that features ABBATH guitarist Ole André Farstad. The track is taken from their forthcoming debut album At the Sound of the Heart, which has been chalked up for release on October 18, 2024.

Hear ‘Vinden Vier’ here:

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WHISPERING VOID comment: “This song began to form when I repeated the words ‘Vinden vier’, which is kind of a play on words”, vocalist Kristian Espedal explains. “This can mean ‘The Wind Sanctifies’ but it can also be read as: ‘The Wind Unites’. As the lyrical loop goes on, it also becomes ‘Vi er vinden’, which means ‘We Are the Wind’. Then Lindy added her wonderful vocals in a 70s or even 60s style. At first, she just sang the ghost vocals, but once we had set the lyrics for the song, she also gave her voice to them. We all felt that this song also needed more of an Eastern energy, which is the very reason as to why we invited Ole André Farstad to play guzheng and Indian slide-guitar. This has added even more of that late 60s vibe to the song and I really like the result.”

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With every movement of American Standard, Uniform peels off a new layer and tells the story inside of the one that came before it.  It’s Uniform’s most intimate work to date, tackling themes of self-destruction and with a particular focus on vocalist Michael Berdan‘s lifelong struggle with bulimia nervosa. His lyrics sink down into the core of the innermost self, the small human being crushed in the grip of sickness. His bandmates join him, applying majestic droning that becomes both mechanical and omniscient. As the rhythms continually pulverise, Uniform gives themselves over to the grinding gears of an uncaring universe.

The thematic content behind American Standard can be divided down the middle into two distinct sections. While the A-side of the record deals with an individual who exists in a purgatorial state of physical and psychic crisis, the B-side serves to address how a lifetime of dealing with an eating disorder has impacted those around him.

Permanent Embrace,” available today, is the album’s final statement. Berdan tells, “It touches on a facet of the disease that I’m incredibly wary of facing. Built on a narrative foundation laid out by author and lyrical collaborator Maggie Siebert, the song revolves around the idea of a person holding a loved one as an emotional hostage. Seeing perverse beauty in a story about a car crash, the narrator relates the analogy of two automobiles twisted together to that of his last standing relationship. As he has broken down over time, so has the one who continues to stand by him. The object of his manipulative guilt trips remains locked in a hopeless situation, terrified of what he may do to himself if they were to finally leave.

The music reflects the psychic violence of the lyrics, as riffs and rhythms that wouldn’t feel out of place in the Unsane catalog careen into giant synth melodies before collapsing into itself. This is kind of our misguided interpretation of what Faith No More were doing on ‘Angel Dust’, and we hope that our tip of the hat to those masters of madness can hold a candle to their horrific splendor.”

For “Permanent Embrace,” Uniform teamed up with director Sean Stout on the single’s compelling visual. Stout tells, "Without sounding trite, when we first read Mike’s lyrics to the record our reaction was extremely visceral. They are brutally introspective and beautiful at times and we wanted to try visually to convey that range of emotion in a sequence of single images that unfold narratively and potentially shift their own meaning over time. Our concept was to intertwine images of an outer world-overgrown, rusting and moving on in its decay-with an inter-world that is largely going through the same process as a result, but is markedly separate as well. We never see one observe or interact with the other, yet they are the same and of the same world."

Watch the video for ‘Permanent Embrace’ here:

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Uniform wants to find what’s underneath. And what’s underneath the underneath. And what’s under that.
American Standard begins with a shock. A voice, a room, a face in a mirror. In the mirror stares a visage, doubled and staring back. Each line comes back to him: reflected and refracted in the unsympathetic glass. Forget for a moment that Berdan has been destroying his throat in Uniform for over a decade. Forget his highly stylised delivery on the band’s acclaimed collaborative work (alongside experimental doom titans The Body and Japanese heavy rock powerhouse Boris). Forget the entire tradition of abrasive vocals in aggressive music. Look for what’s underneath the songs, the form, and the style.

To help peel away this narrative of eating disorders, self-hatred, delusion, mania, and ultimate discovery, Berdan sought assistance from a towering pair of outsider literary figures. Alongside B.R. Yeager (author of the modern cult-classic Negative Space) and Maggie Siebert (the mind behind the contemporary body horror masterpiece Bonding), the three writers eviscerate the personal material to present a portrait of mental and physical illness as vividly terrifying as anything in the present-day canon. The result is an acute articulation of a state beyond simple agony, capturing the thrilling transcendence and deliverance that sickness can bring in the process.

American Standard is surely Uniform’s most thematically accomplished and musically self assured album to date. Sections spiral and explode. Motifs drift off into obscurity before reasserting themselves with new power. Genres collide and burst open, forming something idiosyncratic and new. There’s a grandeur, due in part to the addition of Interpol bassist Brad Truax alongside the percussive push and pull of returning drummer Michael Sharp and longtime touring drummer Michael Blume, marking his Uniform recorded debut here. However, this magnificence is most clearly attributable to the scale and power of guitarist and founder Ben Greenberg’s arrangements, matching ever elegantly to the intense lyrical subject matter.

Underneath it all, what remains is trust. A record of this range and depth, a piece of art so far out on a ledge, can only be attempted with an extreme and almost foolish amount of understanding between collaborators. American Standard stands firmly on the bedrock that Uniform’s two original members, Michael Berdan and Ben Greenberg, have been building on for over a decade.

In Greenberg’s words, “When we started this record, Berdan told me: ‘I trust you to come up with a solid foundation for this, however you envision this thing. I want you to realize it completely, because I believe in you.’ So I wanted to write something overwhelming and all-encompassing for Berdan to lead his narrative through… because I trust and believe in him.” For an album to defy simple genre exercises and become a work of art, the musicians behind it must push themselves so far beyond the frayed ends of an established comfort zone that they might never return. Without a shred of doubt, American Standard is a work of art, agonising in its honesty and relentless in its pursuit of sonic transcendence. It is hideous. It is beautiful. It is necessary.

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Press Photo By Joshua Zucker-Pluda & Sean Stout
Pictured: Founding Members Ben Greenberg (Guitar), Michael Berdan (Vocals)
Not Pictured: Mike Sharp (Drums), Brad Truax (Bass), Michael Blume (Drums)

WE ARE WINTER’S BLUE AND RADIANT CHILDREN (WAWBARC) is the new quartet of Mat Ball (BIG|BRAVE), Efrim Manuel Menuck (Godspeed You! Black Emperor, Thee Silver Mt. Zion), and Jonathan Downs and Patch One (both Ada). On NO MORE APOCALYPSE FATHER they present six modal lullabies drenched in seared distortion, slathered across striding electronic pulses.

Ball and Menuck began creating music in and for the bleakest moments of Montréal winters: “We’re honoring that idea of winter, when you come inside and your house is warm, a place that only exists because of how cold it is outside,” says Menuck. They later recruited Downs and Patch to flesh out their initial ideas—Menuck met first them in 2015 when recording Ada’s final self-titled album at Montréal’s Hotel2Tango, the same studio where WAWBARC convened to make this record.

The album is out September 13th on Constellation. Meanwhile, you can hear the title track here:

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Thrill Jockey – 21st June 2024

Christopher Nosnibor

You want epic? Look no further that this. As the press notes set out, ‘Over the course of 4 tracks in 76 minutes, SUMAC presents a sequence of shifting movements which undergo a constant process of expansion, contraction, corruption and regrowth.’

Four tracks. An hour and a quarter. And then we have the context, and the content of ‘the thematic nature of the record – narratives of experiential wounding as gateways to empowerment and evolution, both individual and collective.’

The emotional weight may not be immediately apparent without this context, but the sonic heft crashes down the doors with the opening chord, a low-down, distortion-heavy heave. The dynamic is one of a lumbering lurch rather than a forceful blast, a long, slow spew, a ruined speaker flapping a sigh in devastation. And then the bass grinds in, so slow, so dark, so heavy, like an emptying of the guts – a slow, painful Dysenteric purge. Around six minutes in, drums and vocals enter the mix and the picture – a scene of the most ruinous pain beyond imagination – is complete. ‘World of Light’ is either the most ironic or misleading song title going: it’s twenty-six punishing minutes, with extended passages of droning feedback in between riffs more brutal than crucifixion. This one track alone isn’t only the duration of some albums, but contains everything necessary.

Comparisons are references are easy and abundant, but, equally, futile: The Healer is a singular, monumental work. It would be an oversight to comment only on the brutal, crawling riffs and gut-shredding density when there are passages of haunting elegance and quite touching beauty. Solo guitar ripples and eddies like a small, quiet stream, and there are moments The Healer of calm, of grace. And the consequence – apart from rendering this post-metal – is a strong dynamic, meaning hat the bulldozer blast gave more than double impact when they hit. And hit they do.

During the gut-churning ‘Yellow Dawn’, you feel yourself hollow out, slumping inwardly following a punishing display of power. It’s hard, it, heavy, it hurts. The final track, ‘The Stone’s Turn’, is again twenty-five minutes in duration and it’s a punishing, pulverising sonic assault.

The Healer leaves you feeling hollowed out, sapped, sucked to a husk. It’s also a work of ambitious enormity. Immense doesn’t come close.

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Anglo-Finnish progressive metallers Wheel recently announced the release of their much-anticipated third studio album Charismatic Leaders on the 3rd May 2024 (InsideOutMusic). The album was meticulously crafted to meet Wheel’s ever-heightening benchmarks and recording with engineers/co-producers Daniel Bergstrand and Fredrik Thordendal (Meshuggah) stretched from August to December 2023. The end result, mixed by Forrester Savell, has consolidated all the gains of what came before: singer/guitarist James Lascelles, lead guitarist Jussi Turunen and drummer Santeri Saksala’s third album represents their heaviest and most conscious music to date.

Today they launch the albums third single, ‘Disciple’, and you can listen now here:

The band will be celebrating the release of their new album with their first ever shows in Australia (supporting label-mates Caligula’s Horse) as well as their first ever North American headline shows. Later in the year the band will return to Europe for further headline dates, and you can find the full list below:

31st October – Olympia, Tampere, Finland

1st November – Sawohouse UG, Kuopio, Finland

2nd November – On The Rocks, Helsinki, Finland

7th November – Lutakko, Jyväskylä, Finland

8th November – Finlandia-Klubi, Lahti, Finland

9th November – 45 Special, Oulu, Finland

15th November – Logo, Hamburg, Germany

16th November – Melkweg Up, Amsterdam, Netherlands

17th November – 013, Tilburg, Netherlands

19th November – Rebellion, Manchester, UK

20th November – Cathouse, Glasgow, UK

21st November – Rescue Rooms, Nottingham, UK

22nd November – 1865, Southampton, UK

23rd November – Underworld, London, UK

24th November – Thekla, Bristol, UK

26th November – Kavka, Antwerp, Belgium

27th November – Luxor, Cologne, Germany

28th November – Colos Saal, Aschaffenburg, Germany

30th November – Backstage, Paris, France

2nd December – Komplex, Zurich, Switzerland

3rd December – Legend, Milan, Italy

4th December – Backstage Halle, Munich, Germany

5th December – Analog Music Hall, Budapest, Hungary

6th December – Chelsea, Vienna, Austria

8th December – Hyrdrozagadka, Warsaw, Poland

10th December – Lido, Berlin, Germany

11th December – Pumpehuset, Copenhagen, Denmark

12th December – John Dee, Oslo, Norway

13th December – Nalen Klubb, Stockholm, Sweden

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