Domestic Genocide has signed a pact with Tokyo-based, OOZEPUS, welcoming the trio to their ever-morphing society of auditory sickness.
Uchino, of Japanese doom lords, Coffins, initiated OOZEPUS in 2012, in order to re-examine his earlier roots as Compromise You Need — the band previous to Coffins in the mid-‘90s — was forged in the more industrial/death tradition of Godflesh, Dead World and Skin Chamber. Taking on vocal and guitar duties, he recruited fellow Coffins-mate Satoshi on drums, and bassist/vocalist Ohkubo of Linekraft and Albiorix Requiem, the band began crafting this elder template into a new design.
OOZEPUS released their first recordings earlier this year in the form of a three-song demo issued through Three Plugs Records/Pagan Result, the material displaying a bruising, hypnotic metallic style comparable to early Swans, Godflesh, Scorn and no wave with a molten, organic persuasion. The potent demo caught the ear of American-based Domestic Genocide (Cerna, Akris, etc.) who contracted the outfit to join the label roster.
More missives on future OOZEPUS plans and releases will be available shortly.
Having just begun their march through Europe, today the CORRECTIONS HOUSE legion — Mike IX Williams (Eyehategod), Scott Kelly (Neurosis), Bruce Lamont (Yakuza), Sanford Parker (Minsk) and their minister of propaganda, Seward Fairbury – announce a short run of Stateside takeovers to usher in 2014. Set to commence January 2nd in Seattle, CORRECTIONS HOUSE will pillage their way through Portland, Los Angeles, San Diego, and San Francisco, leaving souls in torment and stages in ruins.
CORRECTIONS HOUSE are currently touring in support of their Last City Zero debut, issued via Neurot Recordings in late October. Produced by Parker at Electrical Audio, Soma Studios, 60 Psycho Hum and Nodferatu’s Lair, Last City Zero is an audio product of societal ruin and psychological decay. At once beautifully hideous, graceful and terrifying, the record travels far beyond the confines of any one specific genre and continues to reap the applause of exploratory fans and critics globally. In a perfect 10/10 review of the offering, Crave boasts, “CORRECTIONS HOUSE have created something wholly original, incredibly touching, and most likely alienating. Bravo gentlemen, bravo.” In a 9/10 score, Exclaim! agrees, “Featuring dark, depressing atmospheres and exceptionally negative, apocalyptic vibes, Last City Zero is brooding, raw and corrosive, as well as breathtakingly beautiful.” The Sleeping Shaman notes, “The coming together of CORRECTIONS HOUSE seems like one of those moments where the protagonists caught lightning in a bottle, a project designed to explore the diseased, dark underbelly of the American Dream, like the soundtrack to a David Lynch film… It’s not perfect — at times it is ugly and raw — but it is something special and a captivating project delivered with complete conviction by its cast of players,” while About.com adds, “OnLast City Zero, CORRECTIONS HOUSE survey the world with a bleak outlook, as much with scorn as sadness. The industrial/mechanical side feels indicative of how the soul is being ripped from the chest of society, whereas the cleaner side represents the need to hold on to our own individuality. The angry screams voice the fight to maintain what is ours and to retake what has been taken, and the spoken voices of reason and honesty instill reflectiveness and a lack of ignorance…”
In related news, CORRECTIONS HOUSE recently premiere a video for the track “Bullets And Graves,” upon unsuspecting masses via MTV Hive. Directed by Brian Sowell, “Bullets And Graves” is a flagrantly violent, roadside nightmare dominated by shady characters, vicious beatdowns and nameless destinations. Shot completely in black and white, the production is as captivating as it is disconcerting. Check out it out below.
CORRECTIONS HOUSE Live Actions 2013/2014:
12/03/2013 Hafenklang – Hamburg, DE
12/04/2013 Loppen – Copenhagen, DK
12/06/2013 Srattbad – Berlin, DE
12/07/2013 DB’s – Utrecht, NL
12/08/2013 VK Club – Brussels, BE
12/09/2013 Patronaat – Haarlem, NL
12/10/2013 La Fleche D’or – Paris, FR
12/11/2013 Le Sonic – Lyon, FR
12/12/2013 Le Romandie – Lausanne, CH
12/13/2013 Dachstock – Bern, CH
12/14/2013 Cycle Club – Calenzano (Florence), IT
12/15/2013 Garage – Saarbrücken, DE
12/16/2013 Feierwerk/ Hansa39 – Munich, DE
12/17/2013 Arena – Vienna, AT
12/18/2013 Klub Pilot – Prague, CZ
12/19/2013 Dürer Kert – Budapest, HU
12/20/2013 Kitsch Off Scena – Krakow, PL
12/21/2013 Pod Palacykiem – Wroclaw, PL
1/02/2014 The Highline – Seattle, WA w/ Wrekmeister Harmonies
1/03/2014 Dante’s Frank – Portland, OR w/ Wrekmeister Harmonies
1/05/2014 Echoplex – Los Angeles, CA w/ Wrekmeister Harmonies, Author & Punisher
1/06/2014 Soda Bar – San Diego, CA w/ Wrekmeister Harmonies, Author & Punisher
1/07/2014 Great American Music Hall – San Francisco, CA w/ Wrekmeister Harmonies, Sutekh, Hexen
4/10/2014 013 Venue – Tilburg, NL
4/11/2014 Het Patronaat – Tilburg, NL
Our nation’s capitol’s most noxious henchmen, ILSA, have delivered a new video for “120 Days.”
Aurally merging filthy, downtuned hardcore with mid-paced deathcrust, and visually meshing their deep-rooted fascination with the occult, violence and all forms of debauchery with brutal recent live footage in the new video, “120 Days” is far from a new song. The virulent hymn is culled from the band’s sophomore LP, Tutti il Colori del Buio, which was followed by multiple other recordings since. The video was created not in homage to the album but in support of its impending reissue as A389 Recordings — who delivered the ILSA’s third LP, Intoxicatations, an official issue of their original demo, and most recently, the band’s split with Seven Sisters of Sleep — will repress the acclaimed, out-of-print Tutti il Colori del Buio LP in early 2014 including ILSA’s contribution to the long lost split with Hooded Menace as a bonus track.
Get destroyed by the tale of “120 Days” RIGHT HERE.
ILSA also inducts new guitarist Tim Moyer (Time Of The Wolf) into their cult, changing the guard from A389’s own Dom Romeo who has filled the slot for the past several months. The writing process on the ILSA’s most impure and depraved material yet is nearly complete, the works to be recorded in early 2014 once again with Kevin Bernsten at Developing Nations.
Further updates on all pending ILSA actions will be released in the coming weeks.
From Sète, situated on the southern shorelines of France, a brutalizing outfit known as STUNTMAN thrives. Having polluted the atmospheres of this lush, beautiful landscape since Autumn 2002, through a plethora of lineup changes over the years, and following a considerable discography thus far including two previous albums, an EP, a split and a dozen compilations appearances, STUNTMAN now prepares to deliver their most energetic hatred yet, with the release of their third album, Incorporate The Excess.
Rampant noise-soaked angular hardcore courses through every second of these new tracks STUNTMAN drops on Incorporate The Excess, the album reminiscent of turn-of-the-century pioneers Botch, Keelhaul, Unsane and Knut while brandishing blasting grindcore attitude. Recorded and mixed by Amaury Sauvé at Studio La Senelle and mastered by Nick Zampiello and Rob Gonella at New Alliance East, the nearly twenty-seven minute hellride of Incorporate The Excess ensures you’ll incur whiplash, then drags you through a torturous feedback frenzy right to the bitter end. Incorporate The Excess will be released through Solar Flare Records on January 18th, 2014 digitally and as a 12” LP, in both black and clear/splatter color schemes, in addition to a CD release through Head Records and a cassette version through Lost Pilgrim.
Well-ahead of release date, STUNTMAN unloads the third track from Incorporate The Excess; endure the sonic curb-kick of “Bag Of Dicks” being whipped-out at American Aftermath AT THIS LOCATION.
With more than 150 shows in their rearview mirrors, counting five European tours including runs with Coalesce, Russian Circles, Jucifer, Genghis Tron, Child Abuse, Kongh, Mumakil and countless others, STUNTMAN will be decimating audiences once again with material from Incorporate The Excess in the coming months.
Incorporate The Excess Track Listing:
1. Broken Mirrors Lacerate
2. The Patriot, The Elite, The Icon
3. Bag Of Dicks
4. Horn Of Misery
5. Roll The Skull
6. Chaos Shepherd
7. Scarecrow Warfare
In conjunction with its official street date, today the Deciblog gatekeepers are streaming Akrasia, the debut EP from Chicago blackened death thrash conjurors, IMMORTAL BIRD, in its entirety!
Recorded at Lo-Tech Laboratories this past Summer by unsung Windy City soundsmith Jeff Ziolo, mixed by Kurt Ballou (Converge, Isis, High On Fire, Skeletonwitch) at Godcity Studio, and mastered by Brad Boatright (Sleep, From Ashes Rise, Nails, All Pigs Must Die) at Audiosiege, Akrasia flaunts four canticles of sophisticatedly devouring grimness and psychological suffering led by the violently tormented vocal vacillations of Rae Amitay (Thrawsunblat).
In an early review of the offering, Invisible Oranges commends the band’s “inward-looking cosmopolitan ugliness that sometimes evokes a less-patient version of early Castevet,” Metal Insider gushes, “Picture the earliest output of bands like Dissection and the more recent offerings of bands like Belphegor or Vreid and that at least puts you in the ballpark…IMMORTAL BIRD is more than just a female vocalist or a female drummer. It’s three people who’ve come together, clearly with a lot of piss and vinegar in their collective systems, now creating the perfect outlet for release,” while Destructive Music opines, “A superb debut from Chicago’s newest extreme metal trio, a band who takes the best elements of death/thrash, add more than just a hint of darkness and finish their sound off with a raw black metal streak through its core and harness the pure vitriolic energy to produce four tracks of superb brutality 9/10!” Elsewhere, the EP is garnering similar eye-raises. The Lair Of Filth proclaims, “Rae has bigger balls than many of her male counterparts. I’d be remiss though if I didn’t mention the dual guitar/bass assault from Evan Berry and John Picillo, as they cut a phenomenal sound that ranges from balls-out sonic riffage that bobs and weaves throughout the four tunes…,” adding that, “the majority of Akrasia is filled with spite, venom and a penchant for speed, but it is the mellower moments that help to add depth to an already impressive outing,” About.com notes, “Thrawsunblat drummer Rae Amitay is the backbone behind IMMORTAL BIRD’s first EP Akrasia. She pummels the hell out of the drums, and her venom-laced, raspy screams are unnerving,” while The Chicago Reader champions IMMORTAL BIRD’s “sick and greasy black metal that does an admirable job inventing the sound of a mind tearing itself apart.”
Bask in the profound audio misery of Akrasia, now playing at Decibel Magazine, HERE.
IMMORTAL BIRD took its perverted form when Amitay yearned to step out from behind the confines of her drum kit, write some riffs and scream. With those dreams in tow, she enlisted the help of longtime friend/guitarist Evan Berry (Wilderun, Replacire) and bassist John Picillo. With Amitay opting to handle the mic onstage (while tackling drums and vocals on their albums), Garry Naples (Novembers Doom, Kastasyde, Without Waves) was recruited to take on all live drumming duties.
Akrasia is out NOW via Closed Casket Recordings. Order your copy today for a cool $4.50 at THIS LOCATION. Live actions to be announced in coming days.
Exile On Mainstream Records has been responsible for putting out a wide variety of releases over the years, and more recently their catalog couldn’t be more eclectic, from the psychedelic doom of Obelyskkh and the math-rock/sludge of Beehoover to the glacial compositions of A Whisper In the Noise and the celestial drone of Darsombra, to name a few. The label also released the powerful collaborative work of Wino and Conny Ochs, and of course their respective solo albums. In 2014, Exile On Mainstream will venture into other new sonic territories indeed.
Inspired by sufi-music, mali-blues, Western low-fi pop and avant-garde, Danish-born KRISTIAN HARTING composes songs using his guitar, voice, circuit-bending and effects, pushing to create sounds that are gritty and noisy yet beautiful, culminating in diverse electronic and acoustic trips. He positions his attitude and practice as “a spiritual journey as well as a physical one.” HARTING continues to embellish, “It is my way of communicating freely and truthfully and articulate the ever-changing waves of confusion, emotions, ideas, people, power and surroundings, that is my life.”
On March 4th, Exile On Mainstream will proudly release KRISTIAN HARTING’s profoundly personal debut solo album, Float, which channels this into a genre-bending form, exorcising the demons he had to battle in his most recent past. In a very personal approach, the title refers to what he describes as survival-strategy in a period of his life characterized by an extreme personal, emotional and financial turmoil, so chaotic and exhausting that it almost devastated him: “I had to be like water. Just float. Not think, not try to organize nor control the chaos, the perpetual beats to my chest and slaps in my face. I had to be like water or I would break. Just float around and away. Not crack like a rock or blow out like a fire. It was a spiritual journey. A test.”
Listen to the first preview of this captivating debut album with “Feathered Ghosts” RIGHT HERE.
The work on Float was a free harbor, where HARTING could unload the harvest from a furious sea by creating, playing and arranging each part on his own – writing, producing, recording, mixing – finding his own true place. By listening to the intimate recording you can feel the tensions inside its creator, grabbing, shaping and channeling true emotions into music – an archaic approach but representing what KRISTIAN believes music is made for. Whilst these songs come from a chaotic, dark and desperate place, for Kristian, they remain full of hope and love…“My wish is that anyone listening to them will feel this too.”…he sums up the attitude behind the release. Exile On Mainstream urges you to give this music a listen and find yourself drawn into one of the most emotional and challenging albums the label has ever put out, opening a new world, even for them. Label owner Andreas Kohl remarks “The ever-changing wish to explore new territories, geographically and musically brought us here and we are truly celebrating one of the finest moments in the label’s history with bringing you this album. Enjoy.”
Power Frost, the corrupted new anthems from Târgu Mures, Transylvania-based duo, PERSEKUTOR, is now available via Magic Bullet Records. Permeating a seemingly calm and collected yet infinitely sinister, primordial brew of frigid Romanian black metal, the two songs from the 7” provide PERSEKUTOR’s first new material in seven years.
The succinctly persuasive content of these two tracks — the EP’s title track and its B-side companion, “The Twitching Hour,” are now proudly roaming the airwaves via Cvlt Nation RIGHT HERE.
PERSEKUTOR’s debut, Angels Of Meth, was hailed as “the best album nobody heard in 2006” by Decibel magazine. Upon release, the album received a perfect 10 out of 10 score in the same publication—the first black metal album (possibly the first album of any subgenre) to ever rate that highly in Decibel. Due to a “legal dispute” with Thousand Year Reich, the label that released Angels Of Meth, the album is nearly impossible to find. The label was allegedly run as a money-laundering front for the Russian mafia’s Bucharest contingency, but PERSEKUTOR would rather not discuss this for obvious reasons. The official pressing was limited to 100 and almost every copy is believed to be either lost or destroyed. The only extant copy is rumored to be in the possession of Darkthrone drummer/vocalist and renowned metal enthusiast Fenriz. Guitarist/vocalist Vlad The Inhaler and lead bassist Ion “Iron Slasher” Slăsescu are goat herders by day and black metal masters of the universe by night. They have been through several drummers over the years, including one who claimed to be a descendant of famed Romanian pan flute virtuoso Zamfir. Their current drummer is the enigmatic Doktor Impossible.
Following the recent unveiling of their latest long player, A Black Sea, St. Louis doom metal night stalkers, THE LION’S DAUGHTER, spew forth “Gods Much More Terrible.” A fully collaborative effort between THE LION’S DAUGHTER, and somber folk collective/fellow St. Louis occupants, Indian Blanket, A Black Sea is a torrid sound collage of dark and light recorded, mixed and mastered by Gabe Usery (Fister) at Encapsulated Studios in St. Louis. Now playing courtesy of Decibel Magazine, second track “Gods Much More Terrible” plays out like the soundtrack to a doomsday Western.
Comments guitarist/vocalist Rick Giordano: “‘Gods Much More Terrible’ was actually the very first song that THE LION’S DAUGHTER ever wrote back in 2007. As we continued writing, songs became faster and more intricate, and this song got left in the dust. We always liked it but were never sure exactly what to do with it until [Indian Blanket vocalist/guitarist/banjoist] Joe Andert began playing his banjo along to an old recording. Together with Joe we built a new song on top of the skeleton of the first song we had ever written. The song is set in an old western town facing the apocalypse. It’s the idea of civilized but somewhat primitive people facing a blazing disaster they cannot understand and placing responsibility on the only thing they know to fall on; God. Whether that refers to their Christian God, something more sinister, or just the power of Mother Nature is left open to interpretation. But the basic premise was something like the ending of High Plains Drifter with a small old town in a panic as it burns to the ground. It’s a bit of an epic, but worth journeying through the inferno to the ending when the sky opens and swallows you whole. I also think that lyrically, it’s a perfect blend of both bands… Old West meets the Apocalypse.
Get doomed by “Gods Much More Terrible,” RIGHT HERE.
Additionally, adventurous souls can still sample “Wolves,” currently streaming via Cvlt Nation at THIS LOCATION.
Forged in 2007, THE LION’S DAUGHTER was born out of a hatred for the insincere and uninspired cookie-cutter fodder of mainstream metal scene has become. They take notes from black metal and doom, but live by no musical limitations and are driven to please no audience but themselves with their most recent work serving as a prime example of their play-to-please-no-one credo. Previous releases include two self-released EPs, a 12” split with Fister (Hands Up Records, 2011), and the full length Shame On Us All (Pissfork, 2012), which Cvlt Nation described as a, “hard-hitting blast of bruising riffs that will surely leave you drained from start to finish.”
A Black Sea, is officially available via the Good Die Young Music webstore. This LP is a two-hundred-fifty pressing with fifty limited edition, all white pressings available and includes a digital download of the album with a bonus track, “Moonshiner.” Order your copy HERE.
In celebration of its official release this Friday via Ván Records, today Revolver brings you Earth Air Spirit Water Fire, from SELIM LEMOUCHI & HIS ENEMIS in its entirety!
Earth Air Spirit Water Fire serves as a new addition to the annals of sonic exploration from The Devil’s Blood architect SELIMLEMOUCHI. Written by LEMOUCHI alongside old friend Robby Geerings, each of the five tracks that comprise Earth Air Spirit Water Fire bask in their own obscure structures, stylistic leanings and lyrical content; a circle of dark and light diverging from the same source and seemingly returning to that same source as well. The emotions of the Madman; depression, desire, demurity, decadence and determination had seemed to veer out from the same point of origin and had found each other in that oft spoken of but rarely understood concept of completion. With four drummers, a handful of guitar players, a few synthesizer players, several vocalists, and many hours filled with laughter, tears, anger and spiritual communion as well as communication of the more direct kind, he brought the 5(x5×5x5×5x5×5x5×5x5×5x5×5) dimensions of the pentacle, the pentagram and the pentagon into the flesh as he perceived, understood and accepted them.
There comes a point in a man’s life when he must accept that the paradigms and dogmas by which he arranged his life have become null and void and that new paths must be paved. There comes a time when the bridges and ships of the past must be burned and sunk behind him, leaving the remnants of his old self smoldering and, without so much as a glance backwards, without so much as a tear or a smile, he has to move on.
Sometimes we, however, are not ourselves the prime movers in our destinies. Sometimes we are moved onward by hands unseen and forces either too bright or too sinister to even contemplate with any degree of reason. They must be faced with only the instincts of the natural survivor, the warrior and the poet.
In the mind, body and soul of SELIM LEMOUCHI it became clear, not too long ago, that such a moment had come. Inspired by his ongoing search for spiritual clarity and strength, artistic inspiration and truth, always truth, it had become clear that The Old Ways, were now dead and that he had been relieved of the burden of being their facilitator, midwife-of-sorts and guardian.
The careful reader shall understand that the blood of the Devil which has been running through his spiritual veins since before the union of seed and egg, and which runs through them still, perhaps stronger than ever now, had been satisfied. The Blood had cried out for blood and it had been fed, in abundance, through almost seven years of arduous Work and complete dedication, through both Magic and Science, through emotion, instinct and reason. But, and regardless of how that made him feel, or anyone else for that matter, it was done. It was finished. It had been accomplished. It was time to move on…
Earth Air Spirit Water Fire will be released via Ván Records on December 6, 2013 and come available via digipack CD, digital download and LP with full 12″ booklet. Preorder your copy HERE.
The ENEMIES, in no particular order:
Ries Doms: Drums
Micha Haring: Drums
Hans van de Perre: Drums
Hansz Deijnen: Drums
Job van de Zande: Bass
Milko Bogaard: Vocals, Mini Moog and Mellotron
Robby Geerings: FX, Drum-Synth, Guitar
Oeds Beydals: Guitar
Farida Lemouchi: Vocals
Max Rovers: Art
Pieter G. Kloos: (parts of the) Recording, Mix, Master
Sundsvall, Sweden-based technical death metal horde, SOREPTION,is pleased to announce February 18, 2014 as the official worldwide release date of their forthcoming new full-length, Engineering The Void.
Featuring eight tracks of audio wreckage, Engineering The Void was recorded by Tommy Rehn from symphonic black metal collective Angtoria at Ninetone Studios and delivers a spine-shattering ambush of surgically precise riff sequences, manic time shifts, rhythmic grooves and menacing vocals surges. Said MetalSucks of the initial Engineering The Void trailervideo alone: “The new SOREPTION album is going to rip faces. I mean hot damn! Those riffs! The Swedes in SOREPTION are up there with Obscura, Gorod and Psycroptic at the upper echelon of the crowded tech-death pack, no doubt. Can’t wait to headbang furiously to this one (alone, in the car, naturally) the minute it comes out!”
Engineering The Void Track Listing:
1.Reveal The Unseen
2. The Nature Of Blight
3. Breaking The Great Narcissist
4. A Speech To Survival
6. Monumental Burden
7. I Am You
8. Engineering The Void
Engineering The Voidserves as the follow-up to SOREPTION’s debut full-length, Deterioration Of Minds,an underground gemwhich was fittingly applauded by Underrated Reviews for its “superior sense of rhythm and razor-sharp precision that will appeal to fans of bands such as Cannibal Corpse, Suffocation, Dying Fetus and The Faceless.” Added Global Domination, “The tech-death phenomenon leaves no room for error or soul. It’s all about technical riffs and arrangements, not to mention the quantized-to-hell drums and cleaned up stops and gos. But if you are into this genre, it’s hardly because you want to hear soulful playing or actual human groove; no – you expect precision and impressive musicianship. And that is exactly what you get with SOREPTION.”
SOREPTION will unleash Engineering The Void to the masses this February followed by a reissue of Deterioration Of Minds, both via Unique Leader Records. Preorder links and video clips to be unveiled in the coming weeks. Stay tuned!
“If there was one band…which had to be picked as the representative for what tech death is turning into, this would be it…” – Ultimate Guitar
“…this album kicked my balls hard on the first listen, completely tore them off during the second, made clam chowder soup with them on its third play-through, and threw said scolding chowder in my face during the fourth. Suffice to say, this album was quite the tasty shock.” – Metal Observer