Posts Tagged ‘track stream’

German psych-rock collective Ornamental have just unveiled a new song off their first studio album Verwandlung Im Schlaf, which is scheduled to be released on April 11th via Pink-Tank Records.

Listen to this new seven-and-a-half beast of a track titled ‘Methastasis’ here:

Combining elements of heavy, psych-rock with 80’s influenced synthesizers, the quartet sound like the Germanic counterpart of King Gizzard & the Lizard Wizard.
Verwandlung Im Schlaf takes listeners on a exciting journey through various musical landscapes, and sometimes during the duration of just one song. ‘Esoteric Warfare’ for instance, send us on a drive through a desolate and monochromatic desert, while ‘Maelstrom’ sweep us off the road and transports us straight to space.

Originally formed as a solo project of Sidney Jaffe (Arcane Allies, Burnpilot) the band transformed into a power quartet with Jonas Hehemann (Burnpilot, Tv Strange) on bass, Rouven Bienert (Tv Strange, Ruins) on Guitar/Synth and Lennart Uffmann (Brandmann) on the drums.

93ba9c90-5f00-e8da-9a88-ad691ed72e82

Australian instrumental post-rockers sleepmakeswaves have released another single from their forthcoming album "It’s Here, But I Have No Names For It" following the addition of two more US shows to their growing world tour dates.  The band took to social media to tell fans about the new single: 

"’Ritual Control’ was first demoed as ‘Dr. Riff Has Arrived’. I still wonder whether we were mistaken to have not kept the old title.  Otto originally presented the song skeleton to us with the concern that maybe the riffs were "too dumb". In fact, Tim and I responded, they are the *perfect quantity* of dumb. Sure, these riffs aren’t going to earn a PhD. But they will hold down a full-time job, get the kids to school on time and read the occasional piece of challenging non-fiction on weekends. Courageous and heartfelt conversations like this are the core of what effective post-rock songwriting is all about.  New album out next month!"  -Alex

Listen to ‘Ritual Control’ here:

AA

The new album It’s Here, But I Have No Names For It, released on 12th April, was produced by the band themselves, at Golden Retriever Studios in Sydney, Australia. Written during the pandemic, it was originally recorded during 2022 just before the band embarked on a 3 month tour for their previous EP trilogy ‘these are not your dreams.’ Further recording was completed in 2023, including string arrangements by Simeon Bartholomew (SEIMS). The record was then mixed by Andrei Eremin (Closure in Moscow, Tash Sultana, G Flip, Luca Brasi) in Philadelphia USA and mastered by Jeff Lipton and Maria Rice at Peerless Mastering in Boston USA.

The first single ‘Super Realm Park’, prefiguring the record as a whole, is a majestic return to the classic hallmarks of the band’s melodic post-rock sound, whilst introducing new production and arrangement elements. Fans of the band’s heavy bombastic aggression will resonate with tracks such as ‘All Hail Skull’ and ‘Ritual Control.’ They also shine with invigorated melodic and emotive performances and arrangements on tracks like ‘Black Paradise’ and ‘Terror Future.’ Retaining their signature approach to heavy dynamics and crescendos the band are still at their unmatched peak when they turn their hand to cataclysmic emotional epics such as the title track and the album closer ‘This Close Forever.’

The band released a statement to fans, saying: 

"The mysterious phase of nothingness, crucial to the smw creative process, is over: our new album is finally done. Thank you so much to all our listeners for your patience. It has been a slow but intense labor of love and we are proud of the songs on this record, and grateful for the many people who helped bring it to life. Hope to see you on the road in 2024, more show announcements to come, and we truly hope the new music we’re about to release resonates with you in the same way it does with us.   Love smw”

SMW

Oslo, Norway’s experimental-metal/noise-rockers Shaving the Werewolf have just shared the title-track of their new EP God Whisperer, which is set to be released on March 22nd. 

Engineered, mixed and mastered by Jørgen Øiseth Berg and featuring the artwork of Martin Mentzoni, God Whisperer is as ugly and insisting as anything the band have done before. Inspired by the pathological know-it-all who poison the world with their selfish and militant ignorance, these five tracks see Shaving the Werewolf exploring deeper into the sprawling crevices of their established sound to bring you catchy hooks to snag your brain on and jagged edges to treat your mind with the same courtesy an angry box-cutter would, all bathed in corrosive dissonance.

We’re getting hints of Daughters and Trumans Water and a whole heap of mania happening here, and reckon the EP is going to be blinding…

Check ‘God Whisperer’ here (the image links to the track):

a0596124578_10

Dutch artist and Nordic folk pioneer Kati Rán presents the new single ‘Stone Pillars’ together with the news of her signing to Svart Records, based in Finland, for the 2024 release of her long awaited 13 track full length album SÁLA.

The track “Stone Pillars” written and performed by Kati Rán, explores new prophecies, stone circles, and the hand of the spinning Fates. Lyrically, “Stone Pillars” hints at the Icelandic oldest counsel tradition of the Allting, old Nordic Gods, and a prophecy by a female seer. With Norwegian metal vocalist extraordinaire Gaahl (Gaahl, Wyrd, Wardruna) and Mitch Harris (Napalm Death) on backing vocals, Icelandic choir, and the resurrection of a rare lava stone marimba (Sígur Rós, Steindór Andersson) the new single “Stone Pillars” by Kati Rán is deeply set in a Nordic landscape, as the 1st single of the new album “SÁLA” (24th May 2024).

Kati Rán is known for her collaborative audio work for Netflix’s tv series VIKINGS: VALHALLA, films and work for videogames, her stage appearances with Wardruna, Myrkur and Gaahl’s Wyrd to name a few, and her previous releases of the successful album; and Nordic dark folk tracks “Blodbylgje” and Icelandic track “Unnr | Mindbeach”; that run millions of streams and gathered a tightly knit Nordic Folk music loving audience around her.

Kati Rán elaborates: ”Signing to Svart Records was for me the most natural next step to collaborate and release my music with long-standing expertise in bringing out amazing artists and vinyl for true music connoisseurs, and to be able to bring my audience a full experience to enjoy my new Nordic Dark folk album SÁLA (Old Norse for both “sea” and “soul”). My album SÁLA has been tenuously crafted and produced together with Jaani Peuhu (Swallow the Sun, IANAI, Lord of the Lost, Hallatar) and is curated of sorts by my many years of writing, researching and travelling the Northern landscapes; taking on board with me incredible artists, sounds, musicians and producing it together closely with Jaaniand also Christopher Juul (Heilung) to breathe the Nordic soul into the heart of this album. It’s exciting to open the gates to SÁLA with the release of STONE PILLARS. It embraces our most vulnerable side, questions our mind, and attempts to resurrect, or reposition ourselves through spinning with the Fates. It dips right into the heart of things”.

Kati Rán’s new album SÁLA will be released 24th of May 2024 on Svart Records.

Listen to ‘Stone Pillars’ here:

AA

izRZVflA

Doom mountaineers Cancervo streams ‘Sacrilegious Mass,’ the first single from their third LP, III, set for release on 29 March via Electric Valley Records. On the album, the Italian trio continues the tradition of chronicling the myths surrounding Monte Cancervo — the Bergamo-based mountain that stands as the inspiration behind the band’s moniker as well as the thematic backdrop for their music.

On the theme of ‘Sacrilegious Mass,’ Cancervo informs: “The Sacrilegious Mass, celebrated in Val Vedra, is an ancient story about a herdsman and his rebellion against the conventions that required him to go down to the village for the celebration of Holy Mass. The brave man decided to create an altar and celebrate a sacrilegious mass that was interrupted by God. All the presents were engulfed in flames and bound for eternity to the underworld.”

Listen to ‘Sacrilegious Mass’ here:

AA

6e696169-e3e2-487c-ae21-a17cd9a70d02

Swedish crust/grind outfit CHILD have just dropped a brand new track off their second full-length album ‘Shitegeist’, which is set to be released on March 29th via Suicide Records.

Check out ‘Creative Inventions of Killing’ here:

The band has this to say about this new track: “We seem to be paralyzed in order to come up with ways to save this world, the climate, the animals, ourselves. But we never seem to fail in finding new ways to kill it all. Another creative way after the other. We’re good in that sense, the human species. We’re good at killing ourselves.”

Founded in 2015 by Albin Sköld and Alex Stjernfeldt, two prolific musicians from the Stockholm scene whose curriculum includes names like Grand Cadaver, Novarupta and Aardena among others, CHILD was created with the intent to play a nasty and caustic blend of grindcore, punk and hardcore. The line-up was completed in 2021 when Jocke Lindström, Staffan Persson and Per Stålberg joined the duo and started writing material for a full-length, which was released in 2023 on  Eat Heavy Records and garnered strong reactions from both fans and press.

Recently the five-piece outfit signed to Suicide Records for the release of their second album Shitegeist, a powerful album that delivers a furious mix of grindcore, crust punk, death-metal and noise rock.

AA

0f9637c0-6470-42ce-723f-c138a72fff52

Copenhagen progressive melodeath act Mother of All will release their second album, Global Parasitic Leviathan, on 12 April 2024 physically (CD & vinyl) and digitally. As the second preview from the record, the Danish band is streaming a new single, titled ‘Hypocrisy: Weaponized.’

According to Martin Haumann, the architect of Mother of All: “‘Hypocrisy: Weaponized’ is about how the charge of hypocrisy is an effective guard against changes and thoughts within an all-encompassing system.”

Listen here:

AA

Formed in 2013, Mother of All is the brainchild of Martin Haumann, a sought-after hard-working musician in the Danish and international music scene, having performed with artists like Myrkur, Afsky, Timechild, and Mercenary. With a background in The Royal Danish Conservatory and extensive training in different musical disciplines, Martin draws on varied and unusual influences to create a unique vision for Mother of All, but his prime inspiration comes from the deep cauldron of metal. Continuing to explore the art form with Mother of All, Martin creates songs that are diverse and eclectic in nature by incorporating melodic and progressive elements into death metal.
Exploring existential themes in our current age, Mother of All’s debut album, Age of the Solipsist, is a collaborative effort bringing Steve Di Giorgio (Testament, Death, Sadus) on bass and newcomer Frederik Jensen on guitars, with Hannes Grossmann (Alkaloid, Triptykon, ex-Obscura, Hate Eternal, Necrophagist) taking care of the mixing, mastering and production duties and Travis Smith (Opeth, Nevermore, A7X, King Diamond) crafting the cover art. The album, released in 2021 via Black Lion Records, garnered attention and recognition from metal media all over the world.

The sophomore full-length, Global Parasitic Leviathan, marks Mother of All’s first recording with a full lineup, having recently recruited members from acts such as Lamentari, Chaoswave, and Withering Surface. The new lineup has yielded an enthralling sound and direction for the band, ultimately resulting in an album grander in scope both sonically and lyrically.

Mother of All once again unapologetically confronts challenging and contemporary issues on the new album, which thematically revolves around the pervasive turn to corporate and financial tyranny in the Western world. The diverse aspects covered in each song all tie back to this central theme, examining how individuals and nations are controlled and the ideological underpinnings labeled as a “religion” on the album, justifying such domination. The symbolic use of “the Leviathan,” a biblical sea monster that philosophers usually associate with a King or a sovereign ruler legitimated by God, takes on a new meaning on Global Parasitic Leviathan. The Leviathan, replacing the religions of old, now embodies what the band terms “the religion of self-interest.”

AA

f82ac7db-c6c2-6303-79b3-be2630cd3942

With the release of The Body & Dis Fig’s debut collaborative album Orchards of a Futile Heaven just on the horizon, coming 23rd February, the group share smouldering new single ‘To Walk a Higher Path.’ Heavy without conforming to any of the usual tropes of metal or electronic music, the trio here carve out their own distinctive soundworld, neon-lit scenes slowly unfurling amidst light and shadow. Rippling synthesisers beam out like searchlights scanning the horizon, slowly coalescing into strafing melody and staggered rhythms, with Dis Fig’s vocal vapour trails floating weightless above The Body’s obliterated howls and blasted electronics.

Orchards of a Futile Heaven’s walls of sputtering texture and tectonic booms are soaked in the reverence and melancholy of sacred spaces brought to life by palpable intensity by Chen’s voice. Crafted during a time of personal fragility, the album’s devastating force lies beyond any of the expected noise and abrasive textures typically associated with both The Body & Dis Fig. Suffused with a raw vulnerability and a longing for catharsis, Chen’s voice searches for escape in the midst of oppressive atmospheres as if determined to find relief from guilt.

Following the new single, The Body have also announced a string of U.S. tour dates. The Body & Dis Fig plan to tour throughout the US, UK, and Europe in 2024, with collab tour dates to be announced.

Listen to ‘To Walk a Higher path’ here:

AA

Body and Dis Fig

Pissed Jeans shares ‘Sixty-Two Thousand Dollars in Debt,’ a crushing new track about the heady excitement of shrinking debt-to-credit ratios, and a highlight from their forthcoming album Half Divorced.

Listen here – it’s a belter!

AA

Last month, the band announced the release of the album with the official video for indelible lead single ‘Moving On’ from director and frequent collaborator Joe Stakun (‘The Bar Is Low,’ ‘Bathroom Laughter,’ ‘Romanticize Me’).

Pissed Jeans’ Half Divorced is the follow-up to 2017’s Why Love Now, an album that took aim at the mundane discomforts of modern life. The twelve songs of Half Divorced skewer the tension between youthful optimism and the sobering realities of adulthood. Pissed Jeans’ – Matt Korvette (vocals), Bradley Fry (guitar),  Randy Huth (bass), and Sean McGuinness (drums) – notorious acerbic sense of humor remains sharper than ever as they dismember some of the joys that contemporary adult life has to offer.

Half Divorced was produced and mixed by Pissed Jeans and Don Godwin and engineered by Mike Petillo at Tonal Park in Takoma Park, Maryland, and mastered by Arthur Rizk (co-producer and mixer for Why Love Now).

Pissed Jeans’ previously announced international tour dates in support of Half Divorced span Friday, February 29th through Thursday, April 4th. Additional live dates will be announced soon.

Thu. Feb. 29 – Portland, OR – Mississippi Studios

Fri. Mar. 01 – Seattle, WA – Madame Lou’s

Sat. Mar. 02 – Los Angeles, CA – The Echo

Fri. Mar. 15 – Philadelphia, PA – Underground Arts

Sat. Mar. 16 – Brooklyn, NY – St. Vitus

Fri. Mar. 29 – Schijndel, NL – Paaspop Festival

Sat. Mar. 30 – London, UK – EartH (aka Hackney Arts Centre)

Sun. Mar. 31 – Manchester, UK – Manchester Punk Fest

Tue. Apr. 02 – Glasgow, UK – Stereo

Wed. Apr. 03 – Dublin, IE – Whelan’s

Thu. Apr. 04 – Leeds, UK – Brudenell Social Club

AA

a1996958208_10

Ahead of the release of their debut collaborative album Orchards of a Futile Heaven, out February 23rd, The Body & Dis Fig share potent, affecting new single ‘Dissent, Shame.’

The track’s devastating force lies beyond pure noise or abrasive textures, evoking weighty emotions with a minimalist drone dirge that gradually builds into an enchanting choral passage. Suffused with a raw vulnerability and a longing for catharsis, Dis Fig’s voice searches for escape in the midst of oppressive atmospheres as if determined to find relief from guilt. She elaborates on the track: “It’s about the act of abandonment, and the guilt and shame that comes with it. Running away from something, seemingly towards your own safety, but as your conscience picks you apart the entire way.”

Orchards of a Futile Heaven affirms The Body & Dis Fig as skilled sound sculptors who have an exceptional ability to make deeply affecting music, bracing as it is touching, harrowing as it is awe-inspiring. While sampling has long been essential to each, The Body & Dis Fig deftly meld their differing approaches to sampling and creating extreme sounds until the boundaries are entirely blurred. The group transmute weighty emotions into bristling sonic atmospheres, buoyed by Dis Fig’s ethereal vocals. She elaborates: “I love the balance. You could never connect to just a machine as well as you could a human. Which is why the combination is so potent for me. I don’t want to hide. I think nothing connects you more empathetically than another human’s voice.”

The Body & Dis Fig plan to tour throughout the US, UK, and Europe in 2024. Dates and details incoming soon.

Listen to ‘Dissent, Shame’ here:

The Body & Dis Fig are a natural pair. Each has pioneered instantly recognisable worlds of sound all their own that defy any traditional categorisations or boundaries. The Body, Lee Buford and Chip King, continually challenge any conventional conception of metal, collaborating with myriad artists and from the folk-leanings of their work with BIG|BRAVE to their groundbreaking work with the Assembly of Light Choir to the intensity of their collaborations with OAA or Thou.

Dis Fig, aka Felicia Chen, pushes electronic music into dark extremes, from warped DJ sets to avant production, from being a member of Tianzhuo Chen’s performance-art series TRANCE to being the vocalist with The Bug. The Body and Dis Fig find kinship in reimagining what it means to make “heavy music”. Their debut Orchards of a Futile Heaven is the perfect synthesis of two forces, twisting melodicism and intoxicating rhythms, layering a dense miasma of distortion with intense beats and a soaring voice clawing its way towards absolution.

The two found kinship in their desire to find new avenues to make heavy music that looked beyond tropes of metal and electronic music by merging the two. “I always wanted the heavier stuff but I also didn’t really like heavier guitar music,” says Buford. “None of it really felt quite heavy enough to me. A human can’t be as heavy as a machine.”

a0528546945_10