IN THE COMPANY OF SERPENTS: Denver Doom Conjurors Welcome New Member; Band To Kick Off Short Run Of Live Dates Surrounding Scorched Tundra Fest Performance This Week

Photo by Travis Heacock

Denver’s favorite doom-bringers IN THE COMPANY OF SERPENTS are very pleased to welcome bassist/multi-instrumentalist Ben Pitts (Vimana, Black Sleep of Kali, To Be Eaten, False Cathedrals) to their ranks. Pitts will join the long-running duo on their upcoming live dates.

Issues vocalist/guitarist Grant Netzorg, “We are happy to announce the addition of Ben Pitts to the lineup. [Drummer] Joe [Weller Myer] and I have discussed adding a multi-instrumentalist for quite a while, as we’re eager to broaden our songwriting options beyond the limitations of a two-piece. We’re in the midst of writing our next album currently, so the timing is perfect to welcome Ben to the fold. He’ll be holding down bass duties, while also contributing parts on lap-steel guitar and layering in other instrumental pieces that we’ve previously had to confine to the studio. This new chapter for the band opens a wealth of new creative possibilities for us, and we’re excited to give everyone a taste of this as Ben joins us on our dates surrounding Scorched Tundra Fest.”

Adds Pitts, “I’m thrilled to collaborate musically with two good friends and be a part of a band that I’ve been a fan of for years!”

IN THE COMPANY OF SERPENTS will return to the stage later this week on a short run of live dates surrounding their performance at this year’s edition of Scorched Tundra Fest in Chicago, Illinois. Set to commence on August 30th, the mini journey includes shows in Omaha, Minneapolis, and Des Moines. See all confirmed dates below.

8/30/2018 Lookout Lounge – Omaha, NE w/ Dopecorpse, Rift
8/31/2018 Hexagon Bar – Minneapolis, MN w/ Former Worlds
9/01/2018 Scorched Tundra Fest 2018 @ The Empty Bottle – Chicago, IL w/ Monolord, Sumac, Lair Of The Minotaur, Yakuza, Telekinetic Yeti, Couch Slut
9/02/2018 Vaudeville Mews – Des Moines, IA w/ Aseethe, Traffic Death

IN THE COMPANY OF SERPENTS continues to tour in support of their monolithic Ain-Soph Aur full-length self-released last March. Hailed for its, “towering sludge riffs, vocal-cord-shredding roars, and somber brooding atmospheres,” by BrooklynVegan, the six-track offering takes its name from the three veils of negative existence which precede the manifestation of the material universe in the philosophy of Hermetic Qabalah, a Western esoteric tradition involving mysticism and the occult. The phrase translates to “Limitless Light,” and is emblematic of the Qabalistic concepts which are central to the record. Ain-Soph Aur was captured at Flatline Audio in Denver by Dave Otero (Cattle Decapitation, Khemmis, Cephalic Carnage).

Stream Ain-Soph Aur at the IN THE COMPANY OF SERPENTS Bandcamp page at THIS LOCATION.

IN THE COMPANY OF SERPENTS traffics in sonic catharsis. Their music inhabits the strange fringes between sludge metal and sprawling Spaghetti Western scores, constantly striving for visceral power and raw intensity, contrasted with eerie, spare instrumental passages. Founded in 2011, the Denver-based duo consists of Grant Netzorg on vocals and guitars and Joseph Weller Meyer on drums. Ain-Soph Aur serves as the follow-up to the band’s critically-lauded Merging In Light EP, issued in the closing weeks of 2014.

“…like a burning landscape alternately experienced from above the mesmerizing flames and within the perilous inferno.” – Bandcamp Daily

“…an inspiring work that sets the standard for heavy music in 2017,” – The Sludgelord

“…devastating from beginning to end…” – Outlaws Of The Sun

“…crushing, spacey doom that is filled with dissonant sludgy tones and dark, yet surprisingly elegant, melodies…” – Exclaim

“…downright meditative at times, but the real magic is that in certain spots it manages to be that when they’re playing their quietest pieces as well as when they’re at their most demonic.” – Marquee Magazine

“A gothic noir rules Ain-Soph Aur like a dream. The record hypnotizes you, allowing you to relax and fully engage with the performance. It’s stage-like, sculptural and poetic, never distancing itself from what it wants (or knows) it can be. And this is a remarkable trait for a band and a record.” – New Noise Magazine