Posts Tagged ‘Prophecy Productions’

VALBORG have unveiled a visualiser for the first single ‘Sehnsucht nach Unendlichkeit’ ("Longing for Infinity") that is taken from the German sludge monster’s forthcoming album Der Alte ("The Old One"), which has been slated for release on September 9.

Watch the video here:

VALBORG comment: "The working title for ‘Sehnsucht nach Unendlichkeit’ was ‘Techno’ due to our use of a steady kick drum", vocalist and bass player Jan Buckard explains. "The tune originates from the idea of writing a super simple song regarding its structure, but with rather complex and deep harmonics. In this respect, ‘Sehnsucht nach Unendlichkeit’ can be regarded as an experimental piece from our end, which turned out to be worthy to be picked as the first single. The title is actually derived from the name of a spaceship in one of Alastair Reynolds’ hard science fiction novels."

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PENCEY SLOE are now premiering the video clip ‘Smile to Zero’ as the first single taken from the dreamgaze rockers’ sophomore full-length Neglect, which has been slated for release on August 19.

The band comment: “At first you think that the comfortable zone of emptiness is your friend, until it grabs you so hard that your mind twists and locks itself up”, writes singer and guitarist Diane Pellotieri. “It was important to create a video in a dimension other than reality as we all embody a virtual profile these days. The repetitive movements of the characters and their aesthetics echo the underlying problem of the digital age that is imposed on us. I view surrendering to the virtual space as a self-surrender. The video’s characters are gradually drawn into a horror, which does not even frighten them anymore. I see the same mechanism in real world situations like depression or dependency.”

Watch the video here:

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Pic by Nicolas Di Vincenzo

Venus Principle are premiering the melancholic and powerful new track ‘Drag Nets’ as the final single taken from the dark psychedelic rocker’s debut full-length Stand in Your Light, which has been scheduled for release on May 27.

‘Drag Nets’ makes subtle use of a wide range of instrumentation from sax to mellotron vibes and Mini Moog, and the stunning vocal chemistry between Daisy Chapman and Daniel Änghede comes into play again as well.

The band comment: “After the initial recording sessions for Stand in Your Light were postponed, we had a chance to write a few more songs”, guitarist Jonas Stålhammar tells. “The last one written was ‘Drag Nets’. It turned out to be by far the heaviest track on the album. ‘Drag Nets’ represents the waste and rejects of man. You can trawl the sea for food and treasure, but humankind will always carelessly discard all unwanted matter only for it to be rediscovered as flotsam and jetsam. The idea of adding saxophone was a last minute thought in the studio when I reached the conclusion that we had too many guitar solos on the album already. Our amazing guest on the saxophone, August Eriksson, copied my guitar solo note for note and then added some improvised sprinkles.”

Listen to ‘Drag Nets’ here:

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Prophecy Productions / Auerbach Tonträger – 13th May 2022

Christopher Nosnibor

Anyone who tells you Germans lack a sense of humour probably doesn’t have one themselves. Many of the Germans I’ve had contact with have been wry wordplayers and incredibly droll. Who could deny the humour of a nation that gave us Die Toten Hosen? And so it is that St Michael Front showcase a certain tongue-in-cheek amusement, and while their debut album revelled in the preposterous, their latest, which also happens to be the first in their native tongue, exploits the disparity between drama and drollery. For a band who play small venues domestically, and with a minimal setup beyond the projection of movie clips, their sound and presentation is very much a cinematic widescreen and 5.1 sound that’s bold and ambitious – and not just a little self-aware of the pomp and extravagance of their songs.

I have to confess that the arrival of ‘Knochen und Blut’, the second single from Schuld & Sühne completely skittled me, and I immediately found myself somewhat obsessed by the song, and its accompanying video. The song is so magnificently poised, balanced, dramatic, theatrical, while the video… the video is weird. Lifting clips from vintage movies is nothing new, but there seemed to be a certain revelling in the brutal here, and it cut a path from the previous video, suggesting that these guys have something of a fascination with clips of people pummelling or shooting the crap out of one another and scenes of destruction by fire and extreme weather. I’m actually reminded a little of Home Alone, and can picture them glued to all the old black and white gangster movies.

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Schuld & Sühne seems to revel in being overtly German, in the way that Rammstein are – yes, I know – more German than German (although it was Hanzel Und Gretyl who took this comment on the Jewish community prior to WWII and the label ascribes to architectural historian Niklaus Pevsner for his dubious support of the Nazis as a song title for a technoindustrial banger). St Michael Front are a hell of a lot more subtle than Rammstein, and a lot more fun, too: it’s far smarter than ‘Amerika’, but no less German, and no less bold or steeped in pomp.

There’s more than a hint of Sparks or even Pet Shop Boys here, and St Michael Front clearly ‘get’ the essential dynamic of the quintessential pop duo: impassive, static, stone-faced guitarist Bruder Matthias is the perfect deadpan foil to the subtly flamboyant and vaguely campy trenchcoat-wearing Bruder Sascha, and the interplay between the two across the songs is entertaining. They build drama, and there’s a keen theatrical element to the songs.

It helps that St Michael Front don’t resort to force, lyrically or sonically. Instead of bludgeoning the listener, Bruder Sascha has a knack for an expansive gesture, a raised eyebrow that’s arch and disarming, vaguely absurd, and knowingly so – and it translates beyond the videos – you can actually hear this coming through in the songs themselves. At times incongruously jaunty, at others giving a knowing nod, there’s a dry comedic element to the performance.

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Schuld & Sühne is at times brooding, at times breezy, even borderline cheesy (none more so than third single ‘1000 Namen’) – but for all this, there is something aching and beautiful about so much of it that makes it a magnificent and really quite special album.

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Prophecy Productions – 15th April 2022

Christopher Nosnibor

As Darkher, Jayn Maiven lives up to her moniker. Since beginning her career in 2012, progress has been slow but steady, with an eponymous debut EP in 2013 being followed by a second EP, The Kingdom Field in 2014 paving the way for her full-length debit, Realms in 2016. The Buried Storm, then, has been five years in the wait, but it was most definitely worth it.

‘Sirens Nocturne’ sets the bar with a low, slow, brooding drone of strings providing the backdrop to Jayn’s haunting vocal. That backdrop gradually swells with layers of tremulous violins, and her voice heads skyward, a glorious choral sound that’s spiritual beyond verbalisation.

What’s striking is just how deeply steeped in folk this is, the sparse, haunting melodies evoking rugged moorlands and windswept mountainsides. This isn’t a matter of cliché: this is music that touches the naked soul. A tribal drum thumps way off in the distance on the funereal ‘Lowly Weep’; it’s majestic and it’s moving, and over the course of its eight-minute duration, the swelling sound conveys so much more than mere words. Utilising post-rock tropes, it tapers down to quiet chiming guitar around the mid-point before bursting into a monumental thunder of slow, overdriven power chords, a slow-burning crescendo that’s both heavy and mesmerising in its graceful execution.

For its brevity and simplicity, built around a picked acoustic guitar and mournful strings, ‘Unbound’ is intense, but it’s on ‘Where the Devil Waits’ that we really feel a closer connection to Jayn; the vocals are more prominent, and we feel as it we’re riding the waves of a tempest – both literal and emotional – with her.

The true power of The Buried Storm lies in just how much Maiven does with so little. That said, ‘Love’s Sudden Death’ packs a dark density, and brings with it a slow, doomy trudge that invites comparisons to Chelsea Wolfe and Emma Ruth Rundle, and not simply because these are female artists exploring heavy terrain – although I suppose that is a factor, in that we have a crop of artists who balance weight and ethereality, all wrapped in a mist of gothic enigma.

It’s on ‘Immortals’ that everything comes together in a slow-building crescendo – the distant rolling thunder of drums and growing tension that finally breaks into a bold sweep of sound at around the mid-point of its eight-minute expanse.

The piano-led closer, ‘Fear Not, My King’ plods down into the darkest depths. It’s dolorous and dank, and sucks you down toward the depths of reflection, and places you may not want to go.

The Buried Storm is truly beautiful, elegant, with grace and poise and power – and for all its softness, its gentleness, it’s a difficult and at times harrowing album, and a magnificent artistic achievement.

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DARKHER are now premiering the bitter-sweet video single ‘Love’s Sudden Death’ taken from the beloved Northern English doom act’s sophomore album The Buried Storm, which has been chalked-up for release on April 15.

The black and white clip ‘Love’s Sudden Death’ was filmed on location at Long Dike Moor, which lies between Hebden Bridge and Haworth in West Yorkshire – and is also very close to Top Withens, the moorland that inspired the Brontë Sisters’ novels and poetry.

Watch the video here:

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Photo: Catherine Pogue

Venus Principle are now premiering the video clip ‘Rebel Drones’ as the first single taken from the dark psychedelic rockers’ debut full-length Stand in Your Light, which has been slated for release on May 27th.

The melancholic black & white video ‘Rebel Drones’ with a captivating interplay between female and male vocals is now available to view here:

Venus Principle comment: “Releasing a debut album is the pinnacle moment for any new band and even more so with the added obstacle of recording that album during a pandemic across two countries”, writes singer and pianist Daisy Chapman. “After months of work behind closed doors, its first public airing is both exciting and tense – everything has to be right. We are stoked to finally release our first single. ‘Rebel Drones’ was among the first songs written and we think it represents the whole album particularly well. This project was conceived remotely, but the music on Stand in Your Light transcends borders and represents Venus Principle as one entity of experienced musicians and friends. We can hardly wait for all the world to finally hear our creation.”

Eight Bells have revealed the dark melancholic video single ‘The Well’ taken from their forthcoming new album Legacy of Ruin, which is scheduled for release on February 25, 2022.

The avant-garde doom project from Portland, Oregon conceived by guitarist and singer Melynda Jackson has previously revealed cover art, tracklist, and further details of their new full-length. Watch the video here:

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“This song’s story is particularly personal for me”, explains singer and guitarist Melynda Jackson. “It explores the emotions and fears of pastoral ‘salt of the earth types’ looking over the land that no longer yields a good harvest as a metaphor describing their lives. Mourning the bountiful past and coming to realize that they themselves are responsible for a bleak future. Melynda Amann, who was a member during the writing of this track, is also singing with us, while  Andrea Morgan adds haunting ambience with his violin.”

With their third album, the Portland metal experimentalists have sharpened their songwriting approach to create a soundtrack for the end of the world. Legacy of Ruin again features the trio’s trademark haunting vocal harmonies along with sometimes blistering, and sometimes impressionistic guitar riffing to create heady atmospheres of dark and light. 

The result of Eight Bells’ musical exploration is an emotional and insistent odyssey that transcends genre and imbues contemporary metal with 19th-century Victorian ghostliness, cinematic soundscapes in combination with female and male vocal harmonies perfectly fitting the album’s lyrical story. "Legacy of Ruin" focuses on themes of the human condition, natural destruction, death, regret, loss, malice, and retribution.

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Pic: Cody Keto

Darkness treads light as a feather. The voice of despair gently wafts through the air. Delicate pain wrapped in radiant beauty pierces the heart slowly yet without hesitation. The sinister yet beguiling images that DARKHER aka Jayn Maiven paints with her ethereal vocals, guitars, and added strings conjure iridescent cinematic scenes in which it becomes hard to tell whether there lies beauty in darkness or if it is the other way around.

With her sophomore full-length "The Buried Storm", the guitarist, composer, lyricist, and producer has clearly succeeded to even improve the beloved alchemic musical formula that was firmly established on DARKHER’s debut album "Realms" in 2016. Her mostly eerie and at times even outright sinister sonic storytelling comes refined on every level and with sharpened contrasts that reflect the ongoing learning-process of their creator. 

DARKHER were conceived as the sole brainchild and solo-project of Northern English singer and guitarist Jayn Maiven in 2012. The dark and melancholic yet also massively heavy sound on the self-titled debut EP "Darkher" (2013) combined with the distinct vocals of the shy pre-Raphaelite beauty caused an audible buzz – particularly in the doom scene and brought DARKHER a quick record deal, which led to the following EP "The Kingdom Field" (2014) appearing via Prophecy Productions.

Despite not even having an album out, DARKHER were invited to prestigious festivals such as Roadburn in Tilburg, The Netherlands and Prophecy Fest in the Cave of Balve, where the English delivered widely celebrated performances. In 2016, the highly anticipated debut full-length "Realms" was finally released to much praise from critics and fans alike. Press compared DARKHER’s music with a wide range of highly individual acts such as CHELSEA WOLFE, ESBEN AND THE WITCH, SÓLSTAFIR, LOREENA MCKENNITT, and PORTISHEAD.

In the meantime, Jayn’s long-time drummer Christopher Smith, who already contributed to earlier releases, live shows, and again on "The Buried Storm" has been added as permanent member to the line-up of DARKHER.

"The Buried Storm" gives shape to the darkness lurking at the edge of consciousness, hidden from plain sight but patiently biding its time to strike out at the heart. DARKHER have delivered another frightening masterpiece that easily transcends musical boundaries with its broad appeal to friends of dark sounds regardless of genre. "The Buried Storm" captivates its listeners with deceptive sweetness – only to bind them tightly within a thorn-spiked nocturnal beauty forevermore.

Watch ‘Lowly Weep’ here:

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Image: Kathryn Pogue

FORTÍÐ have released a fascinating new video for the elegiac track ‘Son of a Barren Land’ as the third single taken from the Icelandic pagan metal duo’s forthcoming highly acclaimed sixth album, "World Serpent", which has been scheduled for release on December 11th.

Watch the video here:

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