LLNN: No Clean Singing Streams Deads Full-Length From Copenhagen Post-Metal Behemoths; Record To Drop Next Week Via Pelagic

“…staggeringly powerful…a sonic super-weapon, one that operates on multiple levels, inflicting both psychic and physical trauma on a shattering scale…” — No Clean Singing

Copenhagen-based post-metal behemoths LLNN will drop their new full-length, Deads, next week via Pelagic Records. Produced by Jacob Bredahl and mastered by Tue Madsen, Deads is an abrasive, dystopian, apocalyptic monolith of monstrous dimensions.

In advance of the record’s release, No Clean Singing is streaming Deads in its consuming entirety,
issuing of the work, “In prosaic musical terms, LLNN combine ingredients from a multitude of traditions, most prominently from post-metal, hardcore, and sludge…But prosaic terms don’t really capture the impact of the album experience, or the combination of contrasting sensations that produce it. At one level, it is titanically heavy, its pulverizing destructiveness translated through spine-jarring drumwork, concrete-crushing bass-lines, and tremendously brutal pneumatic riffing. On another level, it mercilessly builds tension, torquing the listener’s nerves with dissonant, boiling guitar leads and larynx-shredding, brain-incinerating vocals. On yet another level, it plunders the emotions through melodies that are frighteningly ominous, majestically brooding, and desolating in the magnitude of their sorrow…”

Read more and experience Deads, courtesy of No Clean Singing, at THIS LOCATION

View the band’s previously-released “Appeaser” below.

Deads will see release via Pelagic Records on April 27th on CD, 2xLP, and digital formats. For preorders in North America go to THIS LOCATION, in Europe go HERE, and in Australia go HERE.

In conjunction with the release of Deads, LLNN will kick off a European tour with labelmates Bison. See all confirmed dates below.

LLNN w/ Bison:
4/22/2018 Roadburn Festival – Tilburg, NL
4/23/2018 Beta – Copenhagen, DK
4/25/2018 Revolver – Oslo, NO
4/26/2018 Kraken – Stockholm, SE
4/27/2018 Sofiehof Underjord – Jönköping, SE
4/28/2018 Droneburg Festival – Hamburg, DE
4/29/2018 Dbs – Utrecht, NL
4/30/2018 Stadtmitte – Karlsruhe, DE
5/01/2018 Schlachthof – Wiesbaden, DE
5/02/2018 Magasin 4 – Brussel, BE
5/03/2018 Ebulition – Bulle, CH
5/04/2018 Galerie du Sauvage – Porrentruy, CH
5/05/2018 L´escape B – Paris, FR
5/06/2018 Desertfest – London, UK
5/08/2018 Underdogs – Prague, CZ
5/09/2018 Viper Room – Vienna, AT
5/10/2018 Vintage Industrial – Zagreb, CR
5/11/2018 Hard Club – Cluij, RO
5/12/2018 Metal Bunker – Craiova, RO
5/13/2018 Control Club – Bukarest, RO
5/14/2018 Robot – Budapest, HU
5/15/2018 Alchemia – Cracow, PL
5/16/2018 Hydrozagadka – Warsaw, PL
5/18/2018 Alte Meierei – Kiel, DE
5/19/2018 Pelagic Fest – Berlin, DE
End Tour
7/06/2018 Roskilde Festival – Roskilde, DK

LLNN burst onto the international scene with 2016’s critically acclaimed debut album Loss, a sheer display of, “absolute raging rawness,” as Terrorizer put it. But there is more to LLNN‘s sound than that. “The wavering drone synths that are effortlessly merged with a raw, hardcore-driven darkness define the subtle idiosyncratic nuances of LLNN‘s very unsubtle, painfully overwhelming sound (The Sludgelord).”

After a split EP with Los Angeles’ Wovoka in the summer of 2017, LLNN returns with their sophomore album, Deads, which evades all the pitfalls of the sophomore slump. LLNN has now perfected the amalgamation of the stringed instruments section (bass, guitar) with keys player Ketil Sejersen’s dominant ‘80s sci-fi movie-esque synth layers, which are inspired as much by composers like Brad Fiedel, Vangalis, John Carpenter, and Stanley Kubrick, as much as by sci-fi/horror games like Silent Hill, Dead Space, Halo, and Limbo. “Some of the synth sounds on Deads consist of recordings from everyday sounds transformed into eerie soundscapes, for instance the sounds of boiling water,” drummer Rasmus G. Sejersen comments. “We wanted the soundscapes to be a persistent and dynamic underlay of sounds that influence the music’s core and soul throughout the entire album, together with all the riffs, rhythms, and vocals.”

 “…a seven-minute slab of dense and sludgy intensity that falls somewhere between the soaring apocalypse metal of Neurosis and the visceral crust-punk of His Hero is Gone, with some avant garde noise and dark ambient moments sandwiched in between. It’s a work of white-knuckle intensity that moves at slow speeds, ensuring that none of the heaviness gets lost as they take on more experimental textures.” — Treble on “Armada”

“…a dense, suffocating track that builds and crashes, its buried vocals coming from under thick guitars and pounding drums…” — Decibel on “Appeaser”

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