Collider is the forthcoming new full-length from German-Australian noise rock/post-punk unit HEADS. Set for release in North America via Corpse Flower Records next month, with Collider, HEADS. manages to evade all the pitfalls of the proverbial sophomore slump. These ten songs carry an atmosphere of restrained anger and maturity, capturing a somber narrative that continues to resonate and leave the listener pondering. Collider listens like a trudge through inhospitable badlands with each song starting as if it was always there, and you just walk into the music at hearing distance.
In advance of its release today Decibel is offering up the band’s visual accompaniment to “Wolves At The Door.” Issues HEADS. of the clip, “‘Wolves At The Door’ is the sister song to ‘Last Gasp Shout,’ also on the record. Both of these songs are the story of a torment, driven through the desert, told from the perspective of two different characters on the ride. The video for ‘Wolves At The Door’ was made by Henrik Eichmann. We shot it together over two long days at the end of winter in Germany — first in Rangsdorf, which is an abandoned Soviet airport near Berlin and then back in Berlin at Tiefgrund, which is one of our favorite venues here. Eichmann used a lot of mirrors and projections to get some unique shots with the band, and he’s done an amazing job of capturing the spirit of the song in this video.”
Writes Decibel, “HEADS. have captured tangible feelings of gloom and depression with their video for ‘Wolves At The Door.’ The song and related video feel expansive and lonely, shots of expansive fields, rooms, and highways matching the restrained vocal delivery and slow, slightly sludgy guitars.
View the clip, courtesy of Decibel Magazine, at THIS LOCATION.
HEADS.’ Collider will see release in North America digitally and on limited edition vinyl via Corpse Flower Records on May 4th. Preorders are currently available at THIS LOCATION.
Having members spread out over the globe, the HEADS. collective adjusted their writing and recording process of Collider to accommodate work schedules and extended family visits. In addition, the record features a string of guest musicians who infuse the record with extra fresh sounds. Kevin Whitley (Cherubs) joins the band on “Smile,” while Luc Hess (Kunz, Closet Disco Queen, ex-The Ocean) lends his incredible drumming to “Youth” and “To Call And Let It Ring.” Emilie Zoë (solo, Autisti) and Fabian Bremer (Radare) bring the haunting qualities of their musicianship to “Wolves At The Door.” All of this is held together by an impeccable mix and mastering of the one and only Magnus Lindberg (Cult Of Luna). Fans of Bitch Magnet, Slint, The Melvins, Codeine, and The Jesus Lizard pay heed.
Ed Fraser – guitar, vocals
Chris Breuer – bass
Peter Voigtmann – drums
“Collider proves HEADS. to be masters at bending noise into narrative and heavy riffing into images of vast wastelands. Collider is art rock meeting sludge in a carefully arranged interplay of grave digging and marble sculpting. A bleak redefinition of heartland rock that’s situated on the verge of the savage and the sophisticated.” — Arctic Drones
“The title track sounds like an intimate and whiskey-fueled acoustic session with a young Leonard Cohen. Their reverence to various greats is obvious even within a single song. They might start a track as NIN, throw in a Chris Cornell-esque chorus, then go full Sonic Youth, all with an underlying doom/sludge cadence. But rather than ending up with a carelessly compiled Frankenstein, they’ve managed to string a common thread between the genre’s forefathers that we previously hadn’t noticed.” — Schmutz
“While there are at times a relative calm on moments on Collider, their sound is not quite relaxed; it’s dark and expansive but allows more stripped-down moments to come in, creating this sort of immersive and intense experience.” — Music & Riots