EOLIAN EMPIRE’s Near-Year-End Playback; HEAVYVIBES Holiday Sale

November 25th, 2014

It was the best of times, it was… sorry, what was that? Anyway, before you are deluged by a slew of half-assed year-end lists and enter into a thunderdome of thread battles with commenters much less sophisticated than you, the consummate discerning listener, EOLIAN EMPIRE is here with the playback of the heavy, noisy, weird highlight reel of 2014.

WHORES and RABBITS answered the age-old question, “Darf man alte The Cure Klassiker so behandeln?” with a definitive, “Ja, wir können,” on their 7-inch split–co-released by Brutal Panda–of Cure covers. Verbicide called it “a gloriously deranged take on a few songs from one of alt rock’s heavy hitters done by a couple of bands who are keeping it dirty and nasty in the underground,” and CVLT Nation effused, “off the freaking charts.”  WHORES hit the road hard this year, wowing crowds at SXSW (one of Spin’s “The Five Best Things We Saw on Friday”), Heavy Montreal (its “secret champions” according to exclaim.ca), Fun Fun Fun Fest, and elsewhere, plus have a brand new track on the 13th installment of AmRep’s Dope, Guns, & Fucking in the Streets. RABBITS released their latest 12-inch, Untoward, on Lamb Unlimited in August to much acclaim, like The Onion’s A.V. Club, who spat, “Like a shovelful of sludge to the skull, the record reeks of blood, mud, and the rancid pheromones of AmRep veterans like Cows and Killdozer,” Verbicide who came in with, “Their ability to absorb outside influences makes even more deadly,” and Invisible Oranges said some cool shit like, “In a noise rock scene dulled by younger musicians trying to be someone else, RABBITS have been RABBITS. Lines can be drawn — you could add the descriptor ‘heavier’ to Flipper or Shorty and be in the ballpark — but nothing really sticks besides ‘RABBITS.” The band spent October crushing skulls in Europe with Norwegian touring partners Arabrot and MoE. Old school Lehigh Valley zinester Frank FOE put it simply, but perhaps best: “WHORES and RABBITS are two modern day noise rock bands. Unsane set the standard in my books back in the day, these two bands carry the torch mightily.” Hear hear. (Cough cough.)

Gruesome bass-and-drums twosome TOWERS redefined what it means to be a “doom” band with their second LP, aptly titled II, “a portrayal of otherworldly toxicity made real and concrete through righteously vile and unwelcoming noise” (The Obelisk).  The stunning apocalyptic symphony of four movements through mutant grooves, weird hooks, sludgy crawls, cavernous explorations, and haunting nightmares had UK zine The Quietus championing it as “vivid, vicious, viscous, deeply psychedelic stuff,” adding: “Submit yourself to the mindflames immediately.” Mindflames.

PRIZEHOG released their third LP Re-Unventing the Whool, driving esteemed Aquarius Records to heap on the praise: “PRIZEHOG should be adored, they should be worshipped the way Harvey Milk and Boris and the Melvins are… as hard as it may be for some folks to believe, PRIZEHOG might have outheavied, and outweirded, and outgeniused those masters, and become masters themselves, masters of fucking alien prog-doom, long haired, psych sludge, dirge-drone, damaged art pop.  Fuck yeah.” Fuck yeah indeed.  The celestial space sludge trio trekked across the US and back this summer for the umpteenth time with their “oppressively bodacious guitar/synth/drum attack (Boston Hassle), bludgeoning, bewildering, and bewitching in equal measure. Get your “Whoady” on with the video for that mindwarper by Cinco Sanders and starring Newt Gingrich HERE.

Doom devastators GRAVES AT SEA relocated and reformed with a new rhythm section in Portland, Oregon, and wasted no time reminding everyone why they were missed. Their first new track in four years, the A-side title track of the This Place Is Poison EP, was a crusty taste of their energetic path forward, backed by their heavily damaged and deconstructed take on Black Sabbath’s “Lord of This World.” The Sleeping Shaman smoked the EP with accolades including, “The riffs are monstrously heavy and there is a groove that will not let you go. Everything is covered in a thick crust of filth and the vocals are still insane and hateful. These guys do such a great job at pounding their listeners into a pulp.” Apoch’s Metal Review roasted it with a 9/10 review: “…by the end you’ll have the urge to go to your favorite (or the most suiting) vice, flip the record, and experience this solid doom metal EP all over again.” Longtime fans and newbies alike were treated–or rather, mistreated–with intense performances at Roadburn, Maryland Death Fest, and Heavy Days in Doomtown [links for full sets] as well as a UK tour with Sourvein. What’s next?! Live footage from Maryland Deathfest is rolling HERE.

Cyberneticists HOT VICTORY dropped their first ever full-length, “an album’s worth of jarring samples and polyrhythmic propulsion unmatched by anyone this side of Ralf Hütter and Florian Schneider” (Willamette Week), “throw[ing] a kitchen sink of drums, drum pads, synths, tape loops, samples–you name it–together in pretty fascinating ways” (Brooklyn Vegan). This Summer HOT VICTORY supported the mighty Floor, The Obelisk calling their set “some of the most satisfying prog I’ve seen live since the early days of Zombi.” You can see how just how much racket two people can make while sitting down in their tripped-out performance video for “Island Realm” RIGHT HERE.

DRUNK DAD dropped their debut Ripper Killer LP this year, “combining the thunderous sludge of Melvins, the confrontational punk rock of Flipper, and the abrasion and psychosis of Harvey Milk” (Decibel). Invisible Oranges likened the record to, “a triple word score for ‘noise rock’ and ‘grunge’,” Verbicide called it “equal parts shocking, thrilling, and kick ass,” and Metal Descent stated succinctly, “Finally, someone uses the monikers grunge and hardcore and that’s exactly what you get all modernized and shit.” All modernized and shit–it’s a new age. DRUNK DAD got weird on a whirlwind US tour with Portland and Eolian party-violence pals HONDURAN in September. New friendships were forged, old brain cells were lost. You can check out a live-in-studio performance from KEXP:          CLICK THIS.

Those surly space punks BIG BLACK CLOUD gave us Lessons in Fuck You 2, a collection of weird and wild anxious alien anthems and monster madness, a reckless rollercoaster ride through punk, noise, garage, surf, and B-movie soundtracks, “a musical narrative that would seem suitable for a Repo Man reboot (though this should never happen), sci-fi for cassette geeks still firmly attached to underground anti-everything” (Stereokiller). Do like the Portland Mercury says and get “all loud and mad and splattery.”

EOLIAN also added a couple special editions to the digital discography: the mind-melting psych/kraut/protometal jams of UNDERLORDS TAKE ACID, featuring members/ex-members of RABBITS, FIST FITE, and DIESTO, and the twelve-band live compilation (We’ve Gotta) KEEP OUR HEAD Alive — culled from last year’s release shows for (We’ve Gotta) KEEP OUR HEADS: Heavy Vibes from Portland, Oregon featuring ACRE, IX, NORSKA, HOT VICTORY, BIG BLACK CLOUD, GAYTHEIST, REDNECK, SIOUX, PALO VERDE, TOWERS, HONDURAN, and RABBITS.

And this week is the HEAVYVIBES sale.  Vinyl and cassettes are 11% off with code HEAVYVIBES, and digital releases are 10% off with code heavyvibes, including BIG BLACK CLOUD, DRUNK DAD, HOT VICTORY, GRAVES AT SEA, PRIZEHOG, TOWERS, WHORES, RABBITS, DEAD, DIESTO, HONDURAN, ARABROT, ORDER OF THE GASH, GONE TO CROATOAN, REDNECK, SLAM DUNK (WITH AUTHORITY!), ACRE, THE CYSTS, UNDER MOUNTAINS, CITY OF CHURCHES and PURPLE RHINESTONE EAGLE. Happy motherfucking holidays. God hates you.

Oh, you check out lots of videos, including live and in-studio stuff, of EOLIAN EMPIRE bands at https://www.youtube.com/user/EolianEmpire.

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TODAY IS THE DAY Continues To Book New Tours Supporting Animal Mother LP

November 25th, 2014

Violent, visionary, longstanding metal trio, TODAY IS THE DAY has issued a new list of target cities for live actions in support of their brilliantly destructive tenth full-length album, Animal Mother, released in mid-October via Southern Lord.

Having just completed an exhaustive US trek with a month of headlining tour dates and then another two weeks directly supporting Eyehategod, TODAY IS THE DAY issues a new warning to humans in the Midwest and Northeast regions that the outfit’s newest tour itinerary includes a metropolis in your locale. The brand new dates will kick off this weekend, with the first slated for this Saturday, November 29th in Pittsburgh. The routing will then slither north and south through the eastern half of the country through December 21st, with the latter half of the tour still being finalized, and to be announced in the coming days. So come on down and get saved this holiday season! Additional live TODAY IS THE DAY offensives will be broadcasted through the coming months.

Following the release of the official video of TODAY IS THE DAY’s brutal immediate classic, “Masada,” late this past Summer, a new visual version of “Animal Mother” is in construction for release in the coming weeks, with David Hall of Handshake Inc. responsible for masterminding both projects. Watch “Masada” RIGHT HERE.

Animal Mother is out now via Southern Lord, available on CD colored vinyl LP including bundles HERE, and via BandCamp HERE.

TODAY IS THE DAY Tour Dates:
11/29/2014 The Shop – Pittsburgh, PA
11/30/2014 Yonka House – Detroit, MI w/ Hollow Earth
12/01/2014 Frank’s Power Plant – Milwaukee, WI w/ Northless
12/02/2014 Hexagon Bar – Minneapolis, MN
12/03/2014 Eronel – Dubuque, IA
12/04/2014 Fubar – St. Louis, MO
12/05/2014 TBA – Champaign, IL
12/06/2014 Cobra Lounge – Chicago, IL
12/07/2014 Blind Bob’s – Dayton, OH
12/08/2014 Tremont Music Hall – Charlotte, NC
12/09/2014 Bandito’s – Richmond, VA w/ Hex Machine
12/10/2014 Cafe Nine – New Haven, CT

Dispatching nearly an hour of TODAY IS THE DAY’s creepiest and heaviest chaos in years, Animal Mother’s wrath recalls elements of their most seminal albums, as always merging murderous anger and horribly depressed vibes into a volatile, unclassifiable, prophetic style of metal all its own. With cult leader and guitarist/vocalist Steve Austin joined by drummer Jeff Lohrber (Enabler, ex-Harlots) and bassist Sean Conkling (Regression, Burn Your Halo, Sprawl), the album was recorded, produced and mastered at the frontman’s Austin Enterprises in Maine, features original artwork by Samantha Muljat (Bl’ast, Earth, Baptists), and has reaped international critical acclaim for several months now. Part of Exclaim! Magazine’s featured 9/10 review of Animal Mother issued, “While reminiscent of the band’s late-’90s works Temple of the Morning Star and In the Eyes of God, the new album includes gorgeous melodic elements,” calling it, “another jarring and powerful offering in TODAY IS THE DAY’s unique and emotive catalogue.” Terrorizer Magazine’s outstanding review included, “Ten albums in, TODAY IS THE DAY still stand as the ultimate rebuke to genre-obsessed boilerplate metal, wrenching exorcisms into artworks and imbuing them with a heaviness that goes right down to the marrow,” Ghost Cult gave it an 8.5/10, stating, “Animal Mother’s main musical coin is the filthy, heaving riff topped with Austin’s pained, furious roars and screams, but these collide with deliberate awkwardness into melodic passage, uncomfortable acoustic explorations and electronic noises,” and Last Rites proclaimed Animal Mother is, “the most depressing album since Sadness Will Prevail by a longshot. It may even out-sad Sadness, continuing, “existing fans of the band are going to go apeshit for this one. It’s some of Austin’s more masterful work in a career already lined up with minor classics.” Cvlt Nation said that TODAY IS THE DAY, “has been the essence of avant-garde metal and it remains, as of this day, its quintessence; the womb that once enfolded it, and the phallus that continues to demand both dominion, and reconstruction of its initial, perfect image,” and Punknews.org crowned the album with a 4.5/5 review: “This album begs to be listened to from start to finish…Austin has a knack for laying bare the depravity of the human condition. It conveys feelings of pure unadulterated rage, and bottomless despair… It can be painfully brutal and hauntingly beautiful, sometimes over the course of the same song. This is a nearly flawless blend of artistic expression and skull-crushing heaviness. Animal Mother has to be considered a serious contender for metal album of the year.” Lambgoat informs the masses, “For the few of you that haven’t heard TITD at some point, you’ve most certainly heard something just one step away. Do you like Converge? Austin produced their When Forever Comes Crashing album. How about Lamb Of God? Austin produced New American Gospel. What about that obscure band Mastodon? Well, Mastodon’s rhythm section was once TODAY IS THE DAY’s rhythm section. Alright, I’m sure you get it. Austin is a lifer, and TODAY IS THE DAY has been a faithful component of our little scene for two decades… Whether you call TITD noisecore, noise rock, noisegrind, post progressive rock, or metal, there’s sure to be something on the album that appeals to you.

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ORANGE GOBLIN To Kick Off North American Live Takeover

November 25th, 2014

Following their mammothly successful tour through Europe alongside Saint Vitus, UK stoner metal icons, ORANGE GOBLIN, will bring their heavy grooves Stateside next month for a two-week bout of live takeovers supporting Down. Slated to embark December 1st in San Antonio, the trek will run through fifteen cities, coming to a close on December 21st in Houston. Additional support will come from Bl’ast, and King Parrot.

ORANGE GOBLIN will be touring in support of their road-raging, Back From The Abyss full-length, released last month via Candlelight Records. Produced by Jamie Dodd, who worked with the band on 2012’s chart-topping A Eulogy For The Damned long player, Back From The Abyss has been reaping mass approval from fans and media globally. In an 8/10 review, Decibel Magazine notes, “Pegging OG as simply a ‘stoner’ or ‘doom’ band these days is a little shortsighted. They range from epic, classic-ish metal (‘Heavy Lies The Crown’) to Motörhead-inspired thunderbolts (‘The Devil’s Whip’) while maintaining a soulful bluesy vibe wherever they travel musically,” Ghost Cult christens the record, “a must listen stoner album for the year,” and About.com commends, “another fine slab of metal sludge that oozes into your pores and latches onto your metal soul.” This Is Not A Scene agrees in a 9/10 review, calling Back From The Abyss, “another triumph for ORANGE GOBLIN,” and, “their most accomplished album to date.” In an 8.5/10 verdict, Blabbermouth boasts, “Back From The Abyss is everything ORANGE GOBLIN fans are craving: a bit of Black Sabbath, a bit of Motörhead and a whole lotta cool… where even fifty-four minutes doesn’t seem like enough,” while The AngryMetalGuy calls the record, “a manly, punch drunk listen, full of beans and ready to rumble. It may even grow some extra hair on your chest, if you’re into that kind of thing. Goats everywhere should be worried.”

ORANGE GOBLIN w/ Down, Bl’ast, King Parrot:
12/01/2014 Aztec Theater – San Antonio, TX
12/03/2014 House of Blues – Las Vegas, NV
12/05/2014 Riverside Municipal Auditorium – Riverside, CA
12/06/2014 Wiltern Theatre – Los Angeles, CA
12/07/2014 Ace of Spades – Sacramento, CA
12/08/2014 The Fillmore – San Francisco, CA
12/10/2014 Showbox at the Market – Seattle, WA
12/11/2014 Commodore Ballroom – Vancouver, BC
12/13/2014 Union Hall – Edmonton, AB
12/14/2014 Flames Central – Calgary, AB
12/15/2014 Knitting Factory – Spokane, WA
12/17/2014 Summit Music Hall – Denver, CO
12/19/2014 Diamond Ballroom – Oklahoma City, OK
12/20/2014 Gas Monkey Live – Dallas, TX
12/21/2014 Warehouse Live – Houston, TX

Back From The Abyss is out now on Candlelight Records. The album is available to order on CD, deluxe CD, and double vinyl as well as digitally via iTunes and Amazon.

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http://www.candlelightrecordsusa.com

UNSACRED: Virginia Black Metal Outfit Debuts Single From Debut LP At Cvlt Nation

November 25th, 2014

Having recently locked a deal with their home state-based Forcefield Records for the release of their debut full-length, False Light, Virginia’s UNSACRED has just unloaded the first auditory rapture from the album via underground music/arts outlet, Cvlt Nation, with the crushing track, “Plague.”

Recorded by Ricky Olson and mixed by Bryan Walthall and Ricky Olson at Rusty’s and mastered by Brad Boatright at Audiosiege Engineering, UNSACRED’s False Light delivers a punishing slab of seven tracks of bludgeoning black metal infused with spine-shattering low-end death metal infiltrations and driving punk-inspired beats. Merging classic elements with its contemporary delivery, it’s more than a safe bet to state that False Light will incite the inner heathen in devotees of the works of artists including Craft, Horna, Arkhon Infaustus, The Secret and Mutilation Rites. Cvlt Nation’s exclusive stream of the album’s third track, “Plague,” is joined by an appropriately grim write-up of the album’s carnage, issuing in part, “When UNSACRED drops the tempo down a notch, they hammer the riffs home like a train slowing down to plow a car parked on the tracks. When they go fast, they sound like they do performance-enhancing drugs. You won’t find me philosophizing like a street preacher on this review. When you hit the play button on UNSACRED’s False Light, it’s moshpit time! This album doesn’t stop and go without dynamics, though. They write carefully controlled songs that set up the best moments – the mid-tempo grooves that leave you headbangin’ like a lunatic before knockin’ your balls out of the park with the blast-sections.”

Allow UNSACRED’s “Plague” to infect your existence today at THIS LOCATION.

Having formed in 2012, UNSACRED — comprised of bassist/vocalist Hunter McCarty, guitarist Miguel Falcon and drummer Scott Bartley — has issued three well-received independent EPs upon humanity in their short time together preceding False Light. Channeling primordial, threatening metal riffage and scathing vocal torment UNSACRED pumps their organic black metal full of punk-inspired rhythms and crust blasts; thus birthing an output fit for consumption by both devotees to the Scandinavian black metal sound and also to adherents of the more contemporary, black metal inspired acts who are currently wreaking havoc throughout the underground.

Watch out as Forcefield prepares to unleash False Light on LP and digital formats on December 9th. Preorders for the album are now live including package deals HERE.

Having performed regional live performances with countless local and national acts including Integrity, Toxic Holocaust, Gaza, Full Of Hell, Code Orange Kids, Ash Borer, Obliteration, Kylesa and more, UNSACRED is planning more widespread tour offensives in support of False Light which will be announced as soon as new dates are confirmed.

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http://forcefieldrecords.bandcamp.com

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HIDEOUS DIVINITY: Bass Play-Through Video From Italian Death Metal Unit Now Playing At Gear Gods + Cobra Verde Streaming In Its Entirety

November 25th, 2014

Cobre Verde is the latest long player from Italian death metal draftsmen, HIDEOUS DIVINITY. Released late last month via Unique Leader Records and appropriately dubbed, “an uber-brutal, churning platter of tech-y death metal” by Decibel Magazine, Cobre Verde is a concept record based around Werner Herzog’s 1987 film of the same name.

Tracked at 16th Cellar Studios (Hour Of Penance, Fleshgod Apocalypse, Vomit The Soul), Cobra Verde thrusts forth nine smoldering tracks of discontent, revulsion and unrelenting audio deviance and includes a guest vocal appearances by Nile’s Dallas Toler-Wade on “The Alonest Of The Alone” as well as a ravenous rendition of Ripping Corpse’s “The Last And Only Son,” which Covering The Scene commends for its “Opeth-meets-Maiden absinthe tainted riff,” “Death-inspired bass groove,” and, “ultra-technical Schuldinerish guitar progression.”

In celebration of its release, premier tech site, Gear Gods, is currently hosting a HIDEOUS DIVINITY bass play-through video noting, “Ever since HIDEOUS DIVINITY…utilized Stefano Franceschini for their dark purposes, the quality of their bass work has been godlike. I have no need to praise the band’s dark works myself; that’s what YouTube was invented for. So feast your gluttonous eyes and ears upon this play-through of ‘Sinister And Demented,’ a track off of HIDEOUS DIVINITY’s just-released Cobra Verde (it’s a bit less spicy than Cobra Rojo).”

Dig it at THIS LOCATION.

And check out Cobra Verde in all its maniacal glory below:


Cobra Verde is out now on Unique Leader. Order your copy at THIS LOCATION.

“…without a doubt one of the best releases of 2014.” — Headbangorgtfo

“…a brutal death record that starts with progressive sensibilities but then moves at the speed of a grind album, minus the fact that every song is a five-minute demonstration of these guys being way better musicians than I could ever hope to be… Unique Leader knew damn well what they were doing when they grabbed these guys again for this album, as Cobra Verde is a great get. It’s well-produced and rings through super-clear, and that forty-three minutes of headbanging is enough to leave you with a bangover for days.” – No Clean Singing

The band sounds amazing and delivered a quality release that’s sure to impress death metal fans all over.” – Unhinged

Cobra Verde is an album upholding skillful songwriting, melancholy and ferocity, as well as glimpses of subtlety as key elements which present the album as an innovative and unique work endorsing the highly acclaimed values of HIDEOUS DIVINITY.” – Metal Wani


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AMERICAN HERITAGE: Prolapse LP Released Today Via Solar Flare Records; Full Album Streaming At Decibel Magazine

November 25th, 2014

Prolapse, the ravenous sixth full-length studio output from Chicago-based hardcore earthmovers, AMERICAN HERITAGE, is now publicly available worldwide via Solar Flare Records. To dispatch the news of its release, mighty Decibel Magazine’s online entity, The Deciblog, is running a stream of the entire LP alongside a track-by-track deconstruction of the album’s six brand new originals and accompanying three cover tunes courtesy of the band.

Swing by Decibel Magazine to get pummeled by Prolapse in its intoxicating entirety now at THIS LOCATION.

Additionally, PureGrainAudio is now running a gear feature on AMERICAN HERITAGE guitarist Scott Shellhamer’s rig which helps unload the band’s potent sound RIGHT HERE.

AMERICAN HERITAGE has delivered their ever-evolving brand of diverse, sludge-amplified hardcore mayhem through eleven official releases since their 1996 inception, and their sixth full-length, Prolapse keeps things fresh and distressing without a moment of filler on the LP. The six new original tracks unload some of their most destructive but well-constructed material to date, and at the tail end of the record, the band lives up to their moniker by paying homage to some of their most influential US acts, including covers of the Descendants classic, “Hürtin’ Crüe,” Black Flag’s infamous booze rager, “Thirsty And Miserable” and Girls Against Boys’ emotive “Bulletproof Cupid.” Produced by Sanford Parker at SOMA Studios — who also supplied keyboards and handled mixing duties — Prolapse was created with additional recording contributions from Mike Lust (Tight Phantomz, Football) and Che Arthur (Pink Avalanche), and includes guest vocals and guitars from Lust and guest vocals from Jeffrey Lohrber (Enabler, Today is the Day).

Clermont-Ferrand, France-based Solar Flare Records this week issues Prolapse on CD, LP and digital formats; orders for the physical product are available HERE and the digital HERE.

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CHILD BITE: New EP From Detroit Punk/Metal/Noise Rock Miscreants Streaming In Full At Revolver Magazine; Strange Waste To Drop Via Housecore Tomorrow

November 24th, 2014

On the eve of its official unveiling via Housecore Records, today Revolver Magazine heaves forth CHILD BITE’s Strange Waste EP in its mutinous entirety.

The latest collection of audio pandemonium from Detroit’s favorite punk/metal miscreants was self-produced at Russian Recording in Indianapolis, Indiana, and boasts a wholly bastardized hybrid of the Melvins, Dead Kennedys, Big Black and Faith No More. Ugly, anxious and perilously habit-forming, CHILD BITE’s self-proclaimed “music for losers” continues to astound media outlets both stateside and abroad. Said American Aftermath, “The soundtrack to the greatest psychotic slasher film that never was has arrived in the form of CHILD BITE‘s new EP, Strange Waste. These Michigan punks have been making noise since around 2005 but have outdone themselves tremendously with these nine new tracks. CHILD BITE‘s sound is a mangled mash-up of noise rock and punk that comes across as something deranged yet catchy. Churning bass lines and atonal, seizure-like guitar riffs drive the band’s sonic assault and are met with the psychotic screaming/howling of Shawn Knight… If there was ever a contest to find a sound that takes early Jesus Lizard and My War-era Black Flag, combines them and tortures them for hours on end, CHILD BITE would win first prize.” Invisible Oranges concurs, “This band could go anywhere, in the best way, and also have an uncanny ability to attract non-metal listeners, if their live shows are any indicator. I’ve seen people come in from the street and pay entry to see CHILD BITE sight unseen, only to watch the arty garage band they thought they were seeing devolve into a savage grindcore outfit before their eyes — and stay put. I’m not sure I’ve seen a band with as much potential to surprise people and cross over genre boundaries since I first heard Mastodon.” Detroit Free Press notes, “CHILD BITE’s music smashes into you, as fast as a freight train and just as heavy. The guitars are a blistering blur of nimble and gnarly tones, with the rhythm section’s raucous grooves propelling a raspy, yowling vocalist’s emphatically motor-mouthed lyrics.” Adds Chris Besinger from Minneapolis noise rock unit Stnnng, “This record is only nineteen minutes long, but it is so dense with ideas and riffs and biting, late-era Black Flag guitar solos and clanking, chugging bass lines and splattering drum blasts and yowling vocals you will be gnawing on it like gristle for months to come.”

Expands vocalist Shawn Knight of the EP overall, “We’ve always worked a bit backwards, usually booking the studio time prior to writing any of the music for any given record. It lights a fire under our collective ass, which helps with creativity. We work well with restrictions or parameters. This time we took it a step further and chose the release format [double 45 rpm vinyl] prior to writing. That’s why all of the songs on Strange Waste are so short… we wanted each of the four sides to be under five minutes long. We treated this EP like an album; ten songs stripped down to the bare essentials.”

Shred your ears right off your head with Strange Waste, now playing in full at Revolver Magazine RIGHT HERE.

And don’t forget to peep the band’s video for “Ancestral Ooze.” Written and directed by ex-Dillinger Escape Plan guitarist Jeff Tuttle and featuring the Melvins’ Buzz Osborne, the clip is a tribute to the 1987 underground horror flick Street Trash and is still playing at Decibel at THIS LOCATION.

Strange Waste will be released on CD, double vinyl seven-inch and digitally via Housecore Records November 25th, 2014. Preorder your copy today at THIS LOCATION.


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http://www.thehousecorerecords.com

BLACK COBRA To Headline West Coast December Tour With Wolvhammer; Band Continues To Hatch New Material For Next LP

November 24th, 2014

With the dust settling on the country consequent to the band’s recent full US tour with support from Lo Pan, San Francisco’s most devastating duo, BLACK COBRA, will shred the West Coast this December with support from Midwest cult, Wolvhammer.

As Wolvhammer treks westward on the second phase of Desanctifying North America 2014, they’ll liaise with the mighty BLACK COBRA in Portland, Oregon on December 3rd. From there, the two bands will lay down an extremely diversified but wholly deadly salvo of metallic destruction in Seattle, Eugene, Sacramento, Los Osos, Santa Cruz, San Diego, Los Angeles and Ventura before the final gig of the tour for BLACK COBRA in San Francisco on December 13th, while Wolvhammer tours back east.

BLACK COBRA West Coast Tour w/ Wolvhammer:
12/03/2014 Rotture – Portland, OR
12/04/2014 Highline – Seattle, WA
12/05/2014 Wow Hall – Eugene, OR
12/06/2014 Press Club – Sacramento, CA
12/07/2014 Sweet Springs – Los Osos, CA
12/08/2014 Catalyst – Santa Cruz, CA
12/10/2014 Brick By Brick – San Diego, CA
12/11/2014 Complex – Los Angeles, CA
12/12/2014 The Garage – Ventura, CA
12/13/2014 Thee Parkside – San Francisco, CA

While little else from BLACK COBRA is available for public consumption at press time, the band has been slaving away on new material which is being penned for their next full-length album which will be completed in the first several months of 2015 for release later in the year.

Since 2001, the BLACK COBRA duo — guitarist vocalist Jason Landrian (ex-Cavity) and drummer Rafa Martinez (ex-16, ex-Acid King) — has unloaded a deadly, damaging and wholly unique style of punk/hardcore-propelled sludge doom metal. An introductory self-titled demo EP would get them immediately picked up by At A Loss Recordings who officially re-released the EP as well as their 2006 debut LP, Bestial, and 2007-released follow-up, Feather And Stone, the albums bridged by a split with Eternal Elysium on Diwphalanx Records. Their destructive hymns and notoriously explosive live energy caught the attention of Southern Lord Recordings who signed the band for their acclaimed 2009 LP, Chronomega, as well as their most widely and positively received album to date, with 2011’s massive Invernal. An unstoppable touring machine, BLACK COBRA continually destroys the planet on the road, having played over seven-hundred shows on multiple continents since 2006, including Asia, Australia and both Europe and North America many times each. Massive festivals including Hellfest, The Power Of The Riff, Roadburn, Dour, Scion and others have set the band up with prime slots where the meager duo strikes the crowd with more venom than a band thrice its size every time. Their albums portray visceral otherworldly and sci-fi lyrics and storylines, the result of the band’s major fascination with horror and sci-fi literature and cinema.

http://blackcobra.net
http://www.facebook.com/blackcobramusic
http://www.twitter.com/blackcobramusic
http://www.southernlord.com
http://southernlord.bandcamp.com

COWARDS: “Birth Of The Sadistic Son” Sees Worldwide Debut Via Music & Riots Magazine; New Studio Trailer For Rise To Infamy Posted

November 24th, 2014

With Paris-based COWARDS preparing their Rise To Infamy LP for release in the harsh Winter months, an early exclusive worldwide premiere of the album’s disgustingly heavy “Birth Of The Sadistic Son” is now available via Music & Riots Magazine, alongside a new in-studio trailer of the band’s studio process during the creation of this monstrous opus.

COWARDS will dispatch Rise To Infamy on February 9th, with Throatruiner Records & RVINS Records producing the 12” LP version and Deadlight Entertainment handling the digipak CD. The band’s ten new soul-crushing anthems for annihilation harnessed on the record take their already debilitating sludge-infiltrated hardcore mayhem to new lows through a bed of vein-cutting riffs, thunderous percussive blasts and a maniacal vocal delivery. Exploding around the album’s midway point, “Birth Of The Sadistic Son” opens with unapologetic malice, with an unstoppable blend of rabid blasting upbeat segments and decapitating breakdowns.

Unload “Birth Of The Sadistic Son” via Music & Riots now at THIS LOCATION.

The COWARDS crew has also dispatched a new trailer from the studio sessions for Rise To Infamy which is now playing HERE, and the previously-released trailer featuring the album’s third track, “Frustration (Is My Girl),” courtesy of Chariot Of Black Moth, is playing HERE.

An official video for the album’s next-to-last track, “Bend The Knee,” will be released in the days ahead, in addition to new live updates from the COWARDS camp, including a massive Springtime European tour.

An unrelenting force since their inception in 2012, imposing their ruthless metallic hardcore/sludge through several releases to date, and having crushed live audiences all across Europe, COWARDSRise To Infamy showcases the most punishing output yet. Carrying a deep, oppressive urban coldness behind their spectacularly crushing wall of sound, which stabs blackened sludge metal savagery into the band’s Holy Terror/H8000 inspired-hardcore, the levels of aggression spilled on Rise To Infamy are difficult to endure. Everything has been managed to inflict maximum aural damage; once again recorded by Francis Caste at Sainte Marthe Studio (Arkhon Infaustus, Eibon, Kickback) as with their previous output, the band’s monstrous tones sounds colder and more massive than ever. This is nothing but a monument of down-to-earth, unvarnished violence, punishing from start to finish.

http://www.cowards.fr
http://www.facebook.com/cowardsparis
http://www.cowardsparis.bandcamp.com
http://www.cowards.bigcartel.com
http://www.throatruinerrecords.com
http://www.ruinsrecords.com
http://www.deadlight.fr

WARDRUNA: Norwegian Folk Ensemble Reissues Mesmerizing Runaljod – Gap Var Ginnunga Debut In North America Via Indie Recordings

November 24th, 2014

WARDRUNA’s mesmerizing debut full-length, Runaljod – Gap Var Ginnunga, finally gets the reissue treatment in North America via Indie Recordings. Originally released in 2009, Runaljod – Gap Var Ginnunga serves as the first release in the band’s stunning Runaljod trilogy, a musical rendition of the twenty-four runes in what is often referred to as the “elder futhark.” Runaljod – Gap Var Ginnunga incorporates some of the oldest of Nordic instruments such as primitive deer-hide frame drums, kraviklyra, tagelharpe, mouth harp, goat horn and lur, poetic metres and lyrics written in Norwegian, Old Norse and Proto-Norse tongue. Some of the recordings are captured outdoors or under circumstances of significance to each rune while other sources of sound like trees, rocks, water and torches are used. All of these elements are carefully woven into a rich musical landscape and complemented with whispering voices, melodic song and mighty choirs. Although WARDRUNA’s sound shares characteristics with music typically labeled as folk, world and/or ambient, none of these genres can accurately describe their unique style. It truly must be experienced. Music from Runaljod – Gap Var Ginnunga is featured in the soundtrack to both seasons of The History Channel’s Vikings series.

Runaljod – Gap Var Ginnunga Track Listing:
1. Ár var alda
2.  Hagal
3. Bjarkan
4. Løyndomsriss
5. Heimta Thurs
6. Thurs
7. Jara
8. Laukr
9. Kauna
10. Algir – Stien klarnar
11. Algir – Tognatale
12. Dagr

WARDRUNA:
Kvitrafn: vocals, all instruments (except fiddle), songwriting
Lindy Fay Hella: vocals
Gaahl: vocals

WARDRUNA was founded by Einar Kvitrafn Selvik and in 2009 and enchanted listeners with Runaljod – Gap Var Ginnunga. In the ensuing years the group has spent a great deal of time adapting their music to a live format and establishing a live band, resulting in a handful of very special concerts, perhaps most notably when they performed in front of the majestic 1100-year-old Gokstad ship at the Viking Ship Museum in Norway. The second album in the Runaljod trilogy, Yggdrasil, was released in 2013. Multi-instrumentalist and songwriter Selvik, together with vocalists Kristian Espedal (aka Gaahl) and Lindy-Fay Hella, managed to create a strikingly beautiful and intense continuation of what was started with their first album, but without falling into the trap of merely repeating themselves. The band is currently working on Ragnarok, the final release of the series.

Runaljod – Gap Var Ginnunga is available on CD, black double vinyl gatefold and digitally via Indie Recordings.

http://www.wardruna.com
http://www.indierecordings.no
http://www.merchnow.com/catalogs/indie-recordings