Showing posts with label Audio Streams. Show all posts
Showing posts with label Audio Streams. Show all posts

June 29, 2017

UFOMAMMUT: Italian Psychedelic Sorcerers Premiere “Zodiac” From Neurot Recordings-Bound 8 LP Via Cvlt Nation; Preorders Posted

[Photo Credit: Barba Baader Meinhoff]


Italy’s UFOMAMMUT has issued a thundering new single from their impending eighth studio album, 8, ahead of its September release through Neurot Recordings.

Recorded at Crono Sound Factory in Vimodrone, Milano, Italy, 8 is a major turning point in the heavy alchemic arts, with the elements of UFOMAMMUT’s recording constellation being re-aligned. Although the musicians within the collective remain unturned, a change in recording approach saw the trio playing and recording live together in the same room, even utilizing their live sound engineer Ciccio and his project Femore for production purposes, with Fabrizio San Pietro on mixing duties. Overdubs were used only for vocals, synth sounds, and minor details, with the result of the endeavor being a stricter focus on the soul, darkened groove, and overall cohesion of the music and themselves as musicians. In turn, 8 clarified to UFOMAMMUT who they are as a unit now and their new sonic path…

The longest track on the new album, “Zodiac” thunders with nearly nine-and-a-half minutes of UFOMAMMUT’s psychedelic, groove-laden, sprawling metal, a prime example of the tonal sci-fi obliteration 8 delivers.

The band offers of the new single, “Zodiac is the circular moving of the portion of the sky where we live, a circle that influence our being and what we are, it represents our turning around the tree of life, that is the sun. Zodiac is the central song of the new album, it seems to end several times, but it starts again and again. 'All is nothing and nothing is all, like an endless loop of time'."




Immerse yourself in UFOMAMMUT’s “Zodiac” at Cvlt Nation RIGHT HERE.


Also see the previously-released “Warsheep” video RIGHT HERE.


8 is due for release on September 22nd on vinyl and CD formats via Neurot Recordings and on a limited and regular edition vinyl via Supernatural Cat; the limited edition 7” for the “Warsheep” single is out now. EU preorders for the limited 8 LP can be placed HERE and for US preorders go HERE


8 Track Listing:

1. Babel
2. Warsheep
3. Zodiac
4. Fatum
5. Prismaze
6. Core
7. Wombdemonium
8. Psyrcle



Following their recent performances at Freak Valley Fest and Hellfest this month, UFOMAMMUT will be playing at other Summer festivals including Resurrection Festival, Disintegrate Your Ignorance Fest, Lake On Fire Festival, and Frantic Festival in July and August, followed by their European tour with Usnea in the fall months. UFOMAMMUT will also make their North American return next year, as they are one of the first bands to be announced for Maryland Deathfest 2018. Additional tour updates will be issued in the weeks ahead.


UFOMAMMUT Tour Dates:

7/08/2017 Resurrection Festival – Viveiro, ES

8/04/2017 Disintegrate Your Ignorance Fest – Giavera del Montello, IT

8/05/2017 Lake On Fire Festival - Rohrbach – Oberösterreich, AU

8/19/2017 Frantic Festival - Francavilla Al Mare – Pescara, IT


9/06/2017 Volta – Moscow, RU

9/07/2017 MOD – St. Petersburg, RU


TOUR DATES w/ Usnea:

9/30/2017 La Boule Noire – Paris, FR

10/01/2017 Le Ferrailleur – Nantes, FR

10/03/2017 Borderline – London, UK

10/04/2017 Magasin 4 – Brussels, BE

10/05/2017 Schlachthof – Wiesbaden, DE

10/06/2017 Up In Smoke Festival – Pratteln, CH

10/07/2017 Doornroosje – Nijmegen, NL @ Soulcrusher Festival

10/08/2017 Forum – Bielefeld, DE

10/10/2017 Blitz – Oslo, NO

10/11/2017 Klub Undergangen – Stockholm, SE

10/13/2017 Korjaamo – Helsinki, FI @ Blowup Vol. 3 Festival

10/14/2017 Olympia-Kortelli – Tampere, FI

10/16/2017 KB 18 – Copenhagen, DK

10/17/2017 Lido – Berlin, DE

10/18/2017 Markthalle – Hamburg, DE

10/19/2017 Werk 2 – Leipzig, DE

10/20/2017 Firley – Wroclaw, PL

10/21/2017 007 – Prague, CZ

10/22/2017 Keep It Doom Festival – Munich, DE


5/24-27/2018 Maryland Deathfest – Baltimore, MD


Laden with symbolic nuances, 8 most obviously gestures towards this being UFOMAMMUT’s eighth offering, comprised of eight stunningly immersive tracks that flow into each other without interruption. This flow can also be seen when you tip 8 horizontally, thus it morphs into the leniscate from algebraic geometry [∞], a plane curve that meets at central point, more commonly known as the infinity symbol. A continuous stream of movement reflective of the uninterrupted nature of the album but also the continued togetherness of the essential elements of the band – Urlo, Poia and Vita – since the beginning of the band’s history. ∞ tipped vertically sees us return to the number 8. It must be stressed there is no singular pronunciation of the title, 8 is to be spoken in every language; “eight” in English, “otto” in Italian, “acht” in German, and so on.

Sonically and symbolically, 8 is not only wickedly limitless in its heaviness, power, and commanding nature, but how it arrests the listener’s mind creating a wholly unbounded and impenetrable sensory experience. The album is a continuous flux of music, a singular entity, which can be defined in micro measurements by its eight satellite songs. Each track expands upon the preceding song, unfolding into an exceedingly dense, malevolent and formidable journey, resulting in this being UFOMAMMUT’s most extreme outing yet, with zero breathing room in the forty-eight-minute venture. The album’s predecessor Ecate has now been put to rest and we can be assured that 8 is an essential turning point in the infinity that is UFOMMAMUT’s sonic signature.






May 19, 2017

HARVESTMAN: Music For Megaliths Out Now

Music for Megaliths, the fourth release from HARVESTMAN — a solo project of Neurosis vocalist/guitarist Steve Von Till — is out now via Neurot Recordings.



Order Music for Megaliths on CD, LP and digital formats now through the Neurot Recordings webstore HERE

As with previous HARVESTMAN works, Music For Megaliths shows Von Till handling electric and acoustic guitars, bass, synthesizers, hurdy gurdy, effects and vocals. And, what’s more, the album was fully performed, recorded, and mixed at Von Till's own studio, The Crow’s Nest, in Northern Idaho. Neurosis’ Jason Roeder provides drums to the track “Levitation.” The album’s exploratory, mood-altering, spiritual atmospheres were mastered by James Plotkin, and the album was completed with artwork by Thomas Hooper.

Noisey continues to stream Music for Megaliths in full right HERE.

“The album is a great example of the ever-bountiful intersection between heavy metal and experimental music, feeling like the former without ever exploding into pounding riffs and drums.” — Noisey

“Harvestman, yet another killer project from Neurosis's Steve Von Till … is ambient, relaxing music to lose yourself in, and it's pretty great. Though when has Steve Von Till release music that isn't fantastic in its own unique way?” — Metal Injection

“A soothing adventure, [“Levitation”] is one that lulls the listener into a daze with it’s hypnotic circular melodies and rhythms.” — Overblown








May 12, 2017

HARVESTMAN: Music For Megaliths By Neurosis’ Steve Von Till Streaming At Noisey; Album To See Release Next Week Through Neurot Recordings

Photo Credit: Niela Von Till
Neurosis vocalist/guitarist Steve Von Till will release Music For Megaliths -- the anxiously-anticipated fourth album under the banner of his solo outfit, HARVESTMAN -- next week through Neurot Recordings. Advancing the album’s public release, Noisey is hosting an early listen to the exploratory album in its lush entirety.

“Neurosis singer/guitarist Steve Von Till makes music with his main band that more or less sounds like one of these boulders slowly colliding with your head, but his solo work under his own name and as the drone project HARVESTMAN provides a more placid kind of heaviness, as the new HARVESTMAN album Music For Megaliths demonstrates,” Noisey offers in part. “The album is a great example of the ever-bountiful intersection between heavy metal and experimental music, feeling like the former without ever exploding into pounding riffs and drums.”

Explore HARVESTMAN’s vast Music For Megaliths at Noisey RIGHT HERE.

As with prior HARVESTMAN and other solo releases by Steve Von Till, Music For Megaliths sees the artist handling a wide array of instruments and approaches, including vocals, electric and acoustic guitars, bass, synthesizers, hurdy gurdy, effects, and more, fully performed, recorded, and mixed at his own The Crow’s Nest in Northern Idaho. Neurosis’ Jason Roeder provides drums to the track “Levitation,” and the album’s exploratory, mood-altering, spiritual atmospheres were mastered by James Plotkin, and the album was completed with artwork by Thomas Hooper.


Neurot Recordings will release HARVESTMAN‘s Music For Megaliths on CD, LP, and digital formats next Friday, May 19th; preorders and bundles are available at the Neurot webstore HERE.

"Ruins, monuments, and ancient sites of worship are multi-sensory experiences – at once residues of the sacred, the parchment on which the passage of time has been inscribed and templates for imaginative reconstruction, spaces in which to invest and immerse, to trade your bearings for an inexhaustible state of transition.

Over the course of three albums, Steve Von Till has, under the guise of HARVESTMAN, provided the sonic analogue, casting his net for what might have been and yet still be. Both a personal meditation and a tuning fork for the most ancient and enduring of resonances, his latest album, Music For Megaliths, further expands his journeys along the sonic ley lines that run between folk, drone, psychedelia, the “kosmische” outposts of krautrock and noise: not as an act of eclecticism, but of divination, giving voice to an underlying continuity that binds them all.

Recorded over a period of several years in the dawn hours of creation, Music For Megaliths is an aggregation of moments and recordings that have allowed themselves to spell out a greater whole. Utilizing repetition, manipulation, and modulation, it’s a hallowed frequency dial that ranges across the pulse-regulated drone of “The Forest Is Our Temple,” revving up like a generator powered by arcane currents, the blissful gaze of “Ring Of Sentinels,” “Sundown”’s ominous waves of interference and “White Horse”’s rite of dissolution and regeneration, nomadic and devout. Music For Megaliths is a crossing over, whose multiple routes are testament to a singular and sensuously dilated vision." – words by Jonathan Selzer, 2017







April 27, 2017

HARVESTMAN: Solo Project By Neurosis’ Steve Von Till Streams “Levitation” As Music For Megaliths Nears May Release Via Neurot Recordings

Photo Credit: Niela Von Till

Steve Von Till’s HARVESTMAN – one of the Neurosis vocalist/guitarist’s solo ventures – will release its fourth album under the moniker through Neurot Recordings this May. As the anticipated new record grows closer to its official street date, a new single has been unveiled.

As with prior HARVESTMAN and other solo releases by Steve Von Till, Music For Megaliths sees the artist handling a wide array of instruments and approaches, including vocals, electric and acoustic guitars, bass, synthesizers, hurdy gurdy, effects, and more, fully performed, recorded, and mixed at his own The Crow’s Nest studio in Northern Idaho. The seven mentally expansive tracks were mastered by James Plotkin, and the album completed with artwork by Thomas Hooper.

Music For Megaliths’ fifth movement, “Levitation,” is the only track on the album to feature straightforward percussion, as the song features Neurosis drummer Jason Roeder on drums. The restrained but driving rhythms add a sense of perseverance to the album’s exploratory, mood-altering, spiritual atmosphere.


Explore HARVESTMAN’s “Levitation,” where previous single “‘The Forest Is Our Temple” is also streaming, at THIS LOCATION.


“Ruins, monuments, and ancient sites of worship are multi-sensory experiences – at once residues of the sacred, the parchment on which the passage of time has been inscribed and templates for imaginative reconstruction, spaces in which to invest and immerse, to trade your bearings for an inexhaustible state of transition.

Over the course of three albums, Steve Von Till has, under the guise of HARVESTMAN, provided the sonic analogue, casting his net for what might have been and yet still be. Both a personal meditation and a tuning fork for the most ancient and enduring of resonances, his latest album, Music For Megaliths, further expands his journeys along the sonic ley lines that run between folk, drone, psychedelia, the “kosmische” outposts of krautrock and noise: not as an act of eclecticism, but of divination, giving voice to an underlying continuity that binds them all.

Recorded over a period of several years in the dawn hours of creation, Music For Megaliths is an aggregation of moments and recordings that have allowed themselves to spell out a greater whole. Utilizing repetition, manipulation, and modulation, it’s a hallowed frequency dial that ranges across the pulse-regulated drone of “The Forest Is Our Temple,” revving up like a generator powered by arcane currents, the blissful gaze of “Ring Of Sentinels,” “Sundown”’s ominous waves of interference and “White Horse”’s rite of dissolution and regeneration, nomadic and devout. Music For Megaliths is a crossing over, whose multiple routes are testament to a singular and sensuously dilated vision.” – words by Jonathan Selzer, 2017





Neurot Recordings will release HARVESTMAN‘s Music For Megaliths on CD, LP, and digital formats May 19th; preorders and bundles are available at the Neurot webstore HERE.









March 28, 2017

ALARIC: DARK PUNK COLLECTIVE’S EUROPEAN TOUR ON THE HORIZON; WATCH THE TOUR TRAILER

[Tour Poster by Tony Roberts]

April is looming which means Alaric will soon be bringing their darkened punk alchemy to European shores. This marks the Oakland collective’s first European visit following the release of their latest full length, End Of Mirrors (Neurot Recordings, May 2016). The tour consists of fifteen dates across eight countries, including a scheduled appearance at Roadburn Festival - and you can now watch a trailer for these dates below:



Support comes from American experimental duo Pinkish Black. Here are the dates in full:-

TOUR DATES

19-4 - Willemeen - Arnhem - The Netherlands 
20-4 - Roadburn - Tilburg - The Netherlands
21-4 - Doom Over Leipzig - Leipzig - Germany 
22-4 - Klub Poglos - Warsaw - Poland
23-4 - Collosseum Club - Kosice - Slovakia
24-4 - Dürer Kert - Budapest - Hungary
25-4 - Klub 007 - Prague - Czech Republic 
26-4 - Divaldo Pod Lampou - Pilsen - Czech Republic
27-4 - Kulturbahnhof - Jena - Germany
28-4 - Die Friese - Bremen - Germany - 
29-4 - Northern Discomfort - Copenhagen - Denmark 
1-5 - Hafenklang - Hamburg - Germany
2-5 - Antwerp Music City - Antwerp - Belgium
3-5 - La Zone - Liège - Belgium
4-5 - Stumpf - Hannover - Germany


Alaric features​ within its ranks current and former members of Dead And Gone, Pins Of Light, Noothgrush, Hedersleben, UK Subs, and Jello Biafra and Guantanamo school of Medicine. ​​They ​began their voyage in 2008 with an eye toward creating moody and compelling music unlike any other. Alaric’s previous releases include a debut single Animal/Shadow Of Life (FYBS/ Buried In Hell Records, 2010), a self-titled LP (20 Buck Spin, 2011) and a split 12” LP, with Atriarch (20 Buck Spin, 2012). They released End Of Mirrors on CD, vinyl, and digital formats via Neurot Recordings, and on cassette via Sentient Ruin Laboratories in May 2016. The record was captured and mixed by Skot Brown at Kempton House Studios and provides an emotional and deeply physical journey via their shadowy sounds - beginning with influences from such progenitors as Killing Joke and Christian Death to the darkest, heaviest punk bands and psychedelia.





"Its a brave new direction that brings to mind the kind of electronic atmospherics that Tom Constanten added to the sound of The Grateful Dead at the height of their psychedelic San Francisco period during the late 1960s. Here, however, the Kool-Aid has been spiked with battery acid and the vibe is mean, lean and bristling with something that sounds like a hybrid of Motorhead and Genesis." - WIRE

“As a whole, it’s a dark, almost apocalyptic sweep of sound. Sitting alongside the recent releases by Se Delan and Madame Mayflower, 2016 is starting to look like the year goth is reborn. Forget darkwave and all that cal: emerging from a protracted period of social and economic turmoil, uncertainty, unrest, fear, and an all-pervading sense of existential trauma, we’re back in the late ‘70s and early 80s, and this is the real deal.” - AURAL AGGRAVATION




March 23, 2017

HARVESTMAN: HEAR THE ALBUM OPENER ‘THE FOREST IS OUR TEMPLE’ TAKEN FROM THE NEW UPCOMING FULL-LENGTH, MUSIC FOR MEGALITHS (MAY 19, NEUROT RECORDINGS)

[Photo Credit: Niela Von Till]

Following the recent news that Neurot Recordings will release the fourth full-length from Harvestman, – one of Neurosis vocalist/guitarist Steve Von Till’s solo ventures – titled Music For Megaliths, we today unveil the opening track from the album, ‘The Forest Is Our Temple’. Resonating like an instrumental drone scripture with ritualistic tones, textures and tempos, layers of gorgeous acoustic strings fuse and expand with ominous, distorted amplified undercurrents and a constant hurdy-gurdy hymn. In turn, ‘The Forest Is Our Temple’ sets the hue for Music For Megaliths as a transformative passage of music, evoking realms of welcomed immersive introspection.



As with prior Harvestman and other solo releases by Steve Von Till, Music For Megaliths sees the artist handling a wide array of instruments and approaches, including vocals, electric and acoustic guitars, bass, synthesizers, hurdy gurdy, effects, and more, fully performed, recorded, and mixed at his own The Crow’s Nest studio in Northern Idaho. Neurosis’ Jason Roeder also provides drums to the album’s fifth track, “Levitation.” The seven sonically and mentally expansive tracks were mastered by James Plotkin, and the album completed with artwork by Thomas Hooper.

Album to be release on May 19th, artwork, track listing, and more can be found below.




Music For Megaliths Track Listing:
1. The Forest Is Our Temple
2. Oak Drone
3. Ring Of Sentinels
4. Cromlech
5. Levitation
6. Sundown
7. White Horse


“Ruins, monuments, and ancient sites of worship are multi-sensory experiences – at once residues of the sacred, the parchment on which the passage of time has been inscribed and templates for imaginative reconstruction, spaces in which to invest and immerse, to trade your bearings for an inexhaustible state of transition.

Over the course of three albums, Steve Von Till has, under the guise of Harvestman, provided the sonic analogue, casting his net for what might have been and yet still be. Both a personal meditation and a tuning fork for the most ancient and enduring of resonances, his latest album, Music For Megaliths, further expands his journeys along the sonic ley lines that run between folk, drone, psychedelia, the “kosmische” outposts of krautrock and noise: not as an act of eclecticism, but of divination, giving voice to an underlying continuity that binds them all.

Recorded over a period of several years in the dawn hours of creation, Music For Megaliths is an aggregation of moments and recordings that have allowed themselves to spell out a greater whole. Utilizing repetition, manipulation, and modulation, it’s a hallowed frequency dial that ranges across the pulse-regulated drone of “The Forest Is Our Temple,” revving up like a generator powered by arcane currents, the blissful gaze of “Ring Of Sentinels,” “Sundown”’s ominous waves of interference and “White Horse”’s rite of dissolution and regeneration, nomadic and devout. Music For Megaliths is a crossing over, whose multiple routes are testament to a singular and sensuously dilated vision.” – words by Jonathan Selzer, 2017







February 2, 2017

ALARIC: DARK PUNK COLLECTIVE UNITING CURRENT/FORMER MEMBERS OF DEAD AND GONE, NOOTHGRUSH, UK SUBS, (AND MORE) ANNOUNCE EUROPEAN TOUR DATES


Following the release of their latest full length, End Of Mirrors (Neurot Recordings, May 2016), Oakland-based dark punk alchemists, ALARIC, have announced European tour dates, including an appearance at Roadburn Festival. Here are the dates in full:

ALARIC EUROPEAN TOUR DATES

April 19 - Willemeen - Arnhem - The Netherlands 

April 20 - Roadburn - Tilburg - The Netherlands

April 21 - Doom Over Leipzig - Leipzig - Germany 

April 22 - Klub Poglos - Warsaw - Poland 

April 23 - Collosseum Club - Kosice - Slovakia 

April 24 - Dürer Kert - Budapest - Hungary 

April 25 - Klub 007 - Prague - Czech Republic 

April 26 - Divaldo Pod Lampou - Pilsen - Czech Republic 

April 27 - Kulturbahnhof - Jena - Germany 

April 28 - Die Friese - Bremen - Germany - 

April 29 - Northern Discomfort - Copenhagen - Denmark 

April 3 - tbd

May 1 - Hafenklang - Hamburg - Germany 

May 2 - Antwerp Music City - Antwerp - Belgium

May 3 - LA Zone - Liège - Belgium 

May 4 - Strumpf - Hannover - Germany

ALARIC — featuring within its ranks current and former members of Dead And Gone, Pins Of Light, Noothgrush, Hedersleben and UK Subs — began their voyage in 2008 with an eye toward creating moody and compelling music unlike any other. ALARIC’s previous releases include a debut single Animal/Shadow Of Life (FYBS/ Buried In Hell Records, 2010), a self-titled LP (20 Buck Spin, 2011) and a split 12” LP, with Atriarch (20 Buck Spin, 2012). They released End Of Mirrors on CD, vinyl, and digital formats via Neurot Recordings, and on cassette via Sentient Ruin Laboratories in May 2016. The record was captured and mixed by Skot Brown at Kempton House Studios and provides an emotional and deeply physical journey viatheir shadowy sounds - beginning with influences from such progenitors as Killing Joke and Christian Death to the darkest, heaviest punk bands and psychedelia.


Browse Alaric, End Of Mirrors on CD, LP, Cassette & Digital in the Neurot Recordings store HERE.






"Its a brave new direction that brings to mind the kind of electronic atmospherics that Tom Constanten added to the sound of The Grateful Dead at the height of their psychedelic San Francisco period during the late 1960s. Here, however, the Kool-Aid has been spiked with battery acid and the vibe is mean, lean and bristling with something that sounds like a hybrid of Motorhead and Genesis." - WIRE

“As a whole, it’s a dark, almost apocalyptic sweep of sound. Sitting alongside the recent releases by Se Delan and Madame Mayflower, 2016 is starting to look like the year goth is reborn. Forget darkwave and all that cal: emerging from a protracted period of social and economic turmoil, uncertainty, unrest, fear, and an all-pervading sense of existential trauma, we’re back in the late ‘70s and early 80s, and this is the real deal.” - AURAL AGGRAVATION




November 29, 2016

MIRRORS FOR PSYCHIC WARFARE Featuring Neurosis’ Scott Kelly And Buried At Sea’s Sanford Parker To Kick Off Rare US Mini-Tour Later This Week

[Photo Credit: John Sturdy]

MIRRORS FOR PSYCHIC WARFARE
will kick off a rare bout of US live dates this week. Slated to commence on December 2nd in Los Angeles, California and run through December 16th in Oakland, California, the journey will traverse twelve cities in eight states.


MIRRORS FOR PSYCHIC WARFARE is the latest collaboration between Neurosis’ Scott Kelly and Buried At Sea’s Sanford Parker. The band released their self-titled debut – a sonic manifestation of insomnia, complete with the tossing, turning, and perennial dread that comes with facing another shabby daylight – earlier this year via Neurot Recordings. The five songs that comprise Mirrors For Psychic Warfare lurch and pulsate across a sullen, desolate landscape with an almost curious obsessiveness. And while Mirrors For Psychic Warfare may remind some of the best work on the classic Cold Meat Industry label, there is enough familiar Kelly/Parker-isms scattered throughout to keep the album stimulating. It is a work with more in common with a fever or a fitful wraith than a record.

Check out the record, still streaming at Revolver Magazine at THIS LOCATION.




MIRRORS FOR PSYCHIC WARFARE:

12/02/2016 The Handbag Factory - Los Angeles, CA
12/03/2016 The Green Room – Flagstaff, AZ
12/04/2016 Sister – Albuquerque, NM
12/06/2016 Muntiny Info Café – Denver, CO
12/07/2016 Heart Of Gold Tattoo - Salt Lake City, UT
12/08/2016 Wavepop House – Boise, ID
12/09/2016 Shakedown – Bellingham, WA
12/10/2016 Funhouse – Seattle, WA
12/11/2016 Hawthorne Lounge – Portland, OR
12/13/2016 Lucky's – Eugene, OR
12/14/2016 Café Colonial – Sacramento, CA
12/16/2016 Golden Bull – Oakland, CA




Mirrors For Psychic Warfare
was realized and recorded by both Kelly and Parker at Actual 13 Studio and Hypercube respectively over the course of 2015. The record was mixed and mastered by Parker and comes available in CD and vinyl form. This is not the first occasion where Kelly and Parker have joined forces. The two work together in Corrections House, a project that also features the talents of Mike IX Williams of Eyehategod, and Bruce Lamont of Yakuza, and where Corrections House seem hell-bent on impersonal bludgeon and unrestrained panic, the pair’s latest project — MIRRORS FOR PSYCHIC WARFARE — is far more restrained.


For Mirrors For Psychic Warfare orders visit Neurot Recordings store.





“Ambient(-esque?), but tense and brooding...” – Decibel



“MIRRORS… dwells into dark ambient and power electronics, resulting in a death industrial setting, reminiscent of the Cold Meat Industry roster, in the likes of Deutsch Nepal and In Slaughter Natives.” – Cvlt Nation



“Alternating between sedate brood and agonized howl, Kelly spurts a flowing river of distorted guitar, his manly moodiness resting comfortably atop Parker's steady beats and atmospheric programming.” – Austin Chronicle


“If you are a fan of either man involved, then you’ll know that the sheer emotional weight their self-titled debut carries could crush the casual listener and suck the air out of a room… it’s like waking in a cold sweat in the middle of the night from a fevered dream that leaves you restless and unsettled, not quite sure whether that feeling was real or imagined.” – The Sleeping Shaman



September 22, 2016

NEUROSIS: Eleventh Studio Album Fires Within Fires Playing At Noisey; Album Out This Friday Via Neurot Recordings

[Photo Credit: Stefaan Temmerman]

A massive milestone in the ongoing and unstoppable legacy of NEUROSIS falls into alignment as the band unveils their eleventh studio album, Fires Within Fires, through their own Neurot Recordings this Friday. Preceding the album’s street date, the entire record - recorded by Steve Albini, and featuring cover artwork by Thomas Hooper -- is now streaming worldwide through multiple channels of Vice’s music channel, Noisey.

Noisey issues alongside the stream, "What more can be said about NEUROSIS that hasn't already been written, re-written, and re-written once again? They're giants in a field obsessed with hugeness-hugeness of riff, of amplifier, of decibel, of ambition-and are a seemingly unbreakable sonic force. When Scott Kelly, Steve Von Till, Jason Roeder, Noah Landis, and Dave Edwardson come together (and especially when they do so under the steady hand of longstanding engineer Steve Albini) the result is the kind of tectonic earth magic that the word doom was invented to personify. Whatever it is they continue to seek, this latest offering is a massive step forward towards it."

Stream NEUROSIS’ entire Fires Within Fires early at THIS LOCATION.




NEUROSIS’ Fires Within Fires will see worldwide release on CD, LP, cassette, and all digital platforms this Friday, September 23rd; see the wide array of preorder bundles and options RIGHT HERE.

Decibel Magazine released an entire issue dedicated to NEUROSIS including multiple rare Hall Of Fame features as well as a full feature on the new album, a very brief section of the coverage praising, “NEUROSIS have redefined what heavy meant and what heavy could be, all while refusing to define themselves as anything more than conduits for the music they conjure like diviners. Now releasing their eleventh LP, Fires Within Fires, they’ve ascended from the trappings of youth to alter the landscape of heavy music like the violent shift of tectonic plates.” Alternative Press forewarned in their 12 Metal Albums You’re Going To Need In The Second Half Of 2016 feature, “NEUROSIS have been endlessly creative and relevant for every stage of their now three-decade career…. Every part of their discography is essential, and this will be another welcome chapter in their story.”

The Wire gave the album an entire full-page review in their October issue which included, “Fires Within Fires is the summation of thirty years of experimentation in tonality and texture. Yes, NEUROSIS are firmly positioned within the extreme metal underground yet their music, with its ability to generate images of beauty akin to those many of us have experienced in our own lives - not to mention the loss that accompanies them - challenges this categorization. This is the band's aim; to confront the listener and through sharing their own experiences and impressions offer a template to explore the profundity and profanity of our past and future lives." Terrorizer’s album of the month review for September offers, "Fires Within Fires sees NEUROSIS evoking both the primitive elements of their early years and the polished grace of their current form. A worthy addition to their legacy, their fire burns on."

NEUROSIS continues to book additional upcoming live performances around the release of Fires Within Fires, adding several new shows to their tour schedule. Following the previously-announced London shows with Earth November 7th and Discharge and Subhumans November 8th, and two shows in Portland with labelmates Yob and Kowloon Walled City November 25th and 26th, the newest additions come in the form of two California shows in December, leading with a set in San Francisco on December 17th, also with support from Yob and Kowloon Walled City. The next night, December 18th will see NEUROSIS headlining the second night of The Power Of The Riff 2016, with six additional bands to be announced for the same evening. Two shows in Seattle and Vancouver follow, on December 19th and 20th, respectively, with support from Yob and Sumac.


NEUROSIS Tour Dates:

11/07/2016 Koko – London, UK w/ Earth [tickets]

11/08/2016 Koko – London, UK w/ Discharge, Subhumans [tickets]

11/25/2016 Hawthorne Theatre – Portland, OR w/ Yob, Kowloon Walled City [all ages] [tickets]

11/26/2016 Hawthorne Theatre – Portland, OR w/ Yob, Kowloon Walled City [21+] [tickets]

12/17/2016 Regency Grand Ballroom – San Francisco, CA w/ Yob, Kowloon Walled City [tickets]

12/18/2016 Regent Theater – Los Angeles, CA @ The Power Of The Riff [tickets]

12/19/2016 Neumos – Seattle, WA w/ Yob, Sumac [21+] [tickets]

12/20/2016 Venue – Vancouver, BC w/ Yob, Sumac [19+] [tickets]


On September 23rd, NEUROSIS take a dominant leap with their eleventh full-length, Fires Within Fires. Three decades in the making, and following 2012's Honor Found In Decay, the album is a testament both to the history and future of NEUROSIS.

In true Ouroborean style, Fires Within Fires gives due to its predecessors while progressing forward into the unfamiliar and formidable. Striking NEUROSIS's signature balance between light and dark, beauty and repulsion, dense sonic heaviness and reflective space. Fires Within Fires is succinct, raw and deeply soulful, an all-encompassing reminder to all that transfiguration in sound remains their most commanding and inimitable strength. Our first and only glimpse of the music on this record, prior to release date, is sampled in a new video which has emerged, here you can also marvel at the exquisite album artwork from the renowned Thomas Hooper.

The journey of their music has found the band relishing the unpredictable, embracing the unknown and exploring the possibility of where the music was capable of taking them. Going beyond the remarkable, NEUROSIS has become unforgettable. Fires Within Fires is the next powerful step towards a destination that has long been and continues to be the very heart of "becoming" for NEUROSIS.








May 3, 2016

ALARIC: Dark Punk Outfit Uniting Current/Former Members Of Dead And Gone, Noothgrush, UK Subs, And More Streams End Of Mirrors At Revolver; Record To Drop This Friday Via Neurot + Live Dates Confirmed

Photo Credit: Raul Varela
This Friday, May 6th, Oakland-based dark punk alchemists, ALARIC, will unveil their long-anticipated End Of Mirrors full-length. Set for global release on CD, vinyl, and digital formats via Neurot Recordings, and on cassette via Sentient Ruin Laboratories, the record was captured and mixed by Skot Brown at Kempton House Studios and provides an emotional and deeply physical journey through inky, blackened sonic murk, devoid of all hope.

In advance of its release, Revolver offers up the record in all its unsettling, gloomy-ridden glory at THIS LOCATION.

For various End Of Mirrors preorder bundles go HERE.




In a recent investigation of ALARIC’s End Of Mirrors, No Clean Singing notes, “if you are looking for something that is dark, aggressive, and more left-of-center than your typical metal band these days, then this is worth your time,” further elaborating, “Aggression is a key component of their sound; even in the album’s more passive moments, it’s still bubbling under the surface like a serial killer staring at himself in the mirror.”

Nine Circle concurs: “End Of Mirrors is a study in all that is great about nearly three decades of largely British driven rock. The darkness, despair and questioning of existence aside, the music is damn catchy and hummable. Simply put, End Of Mirrors is 2016s version of Gold’s No Image — an album that doesn’t fit squarely within the metal genre yet will factor largely in the community’s conversation for years to come.” 

Cvlt Nation champions, “…a deathrock opera that brilliantly sews together the dusky emotivity of Bauhaus and Christian Death, the punishing and bleak atmospheres of Killing Joke and of the heaviest punk bands, and the desolate and hopeless atmospheres of the most crippling doom.” Aural Aggravation elaborates, “As a whole, it’s a dark, almost apocalyptic sweep of sound. Sitting alongside the recent releases by Se Delan and Madame Mayflower, 2016 is starting to look like the year goth is reborn. Forget darkwave and all that cal: emerging from a protracted period of social and economic turmoil, uncertainty, unrest, fear, and an all-pervading sense of existential trauma, we’re back in the late ‘70s and early 80s, and this is the real deal.” 

Abysmal Hymns hails a record that’s, “as heavy sonically as it is aggressive… While this band might have come into my consciousness when the death rock revival rolled into the inner webs, a song like ‘Angel’ makes it clear that to dismiss this band as death rock is dramatically over simplifying it even at the most morose. The ghostly quality to this song doesn't make you feel like you are sharing needles in West Hollywood on Halloween night. It is more expansive in the way it haunts you. It's going to take a few more listens before this slow working drug is fully in my system, but it lives up to the legacy they began...”

Adds Invisible Oranges of the band’s “Mirrors” single specifically, “Though definitely doomed in their own unique way, ALARIC is a post-punk band at their core, but End Of Mirrors is no Mesh & Lace goth club party anthem. Maintaining a sluggish tribal beat for the majority, ‘Mirrors’ reaches the lowest levels of despondency – psychedelic, woozy, and cold – before reaching a rabid and aggressive conclusion. …Though I had previously asserted that ALARIC had achieved their peak with their contribution to their 2012 split with fellow gloomers Atriarch, ‘Mirrors’ sets the bar higher. ALARIC is night music for aging punks – the sound of the last call at an emptied, dimly lit bar slowly purging its last denizens. To quote a song from a previous Alaric release, ‘the sadness goes on,’ and it certainly does.”

ALARIC, who recently opened for Neurosis on one of their three special thirtieth anniversary shows in San Francisco in March, will bring their unsettling odes to the stage next month on a near-three-week stretch of live dates still in their plotting stages. Additional live confirmations to be announced in the coming days.


ALARIC:

6/15/2016 The Complex – Los Angeles, CA w/ Ides Of Gemini 
6/16/2016 TBA - Long Beach, CA
6/17/2016 Womb Room - Las Vegas, NV
6/18/2016 The Quarry – Bisbee, AZ
6/19/2016 Meow Wolf - Santa Fe, NM 
6/20/2016 TBA – Austin, TX 
6/21/2016 TBA – Houston, TX 
6/22/2016 Three Links - Dallas TX w/ Pinkish Black 
6/23/2016 TBA - Oklahoma City, OK
6/24/2016 Hi Dive – Denver, CO
6/25/2016 Order Of The Eagle - Ogden, UT
6/26/2016 TBA – Boise, ID
6/27/2016 Highline – Seattle, WA
6/28/2016 Obsidiak – Olympia, WA 
6/29/2016 High Water Mark – Portland, OR
6/30/2016 Starline – Sacramento, CA
7/01/2016 Elbo Room - San Francisco, CA


ALARIC — featuring within its ranks current and former members of Dead And Gone, Pins Of Light, Noothgrush, Hedersleben and UK Subs — began their voyage in 2008 with an eye toward creating moody and compelling music unlike any other. Beginning with influences from such progenitors as Killing Joke and Christian Death to the darkest, heaviest punk bands and the most epic psychedelia, the band has dedicated itself to creating a singularly shadowy electric guitar-driven music. ALARIC’s previous releases include a debut single Animal/Shadow Of Life (FYBS/ Buried In Hell Records, 2010), a self-titled LP (20 Buck Spin, 2011) and a split 12” LP, with Atriarch (20 Buck Spin, 2012).





April 21, 2016

MIRRORS FOR PSYCHIC WARFARE: Collaboration Between Neurosis’ Scott Kelly And Buried At Sea’s Sanford Parker Streaming In Its Entirety At Revolver; Record Out This Friday Via Neurot

Photo Credit: John Sturdy

MIRRORS FOR PSYCHIC WARFARE is the latest collaboration between Neurosis’ Scott Kelly and Buried At Sea’s Sanford Parker. The band’s unsettling, soon-to-be-issued self-titled debut is the sonic manifestation of insomnia, complete with the tossing, turning, and perennial dread that comes with facing another shabby daylight.

The five songs that comprise Mirrors For Psychic Warfare lurch and pulsate across a sullen, desolate landscape with an almost curious obsessiveness. And while Mirrors For Psychic Warfare may remind some of the best work on the classic Cold Meat Industry label, there is enough familiar Kelly/Parker-isms scattered throughout to keep the album stimulating. It is a work with more in common with a fever or a fitful wraith than a record.


In advance of its release tomorrow, April 22nd, 2016 via Neurot Recordings, Revolver Magazine offers up the record in all its disquieting glory at THIS LOCATION.



For Mirrors For Psychic Warfare CD, LP & Digital preorders point your browser to THIS LOCATION.

Mirrors For Psychic Warfare was realized and recorded by both Kelly and Parker at Actual 13 Studio and Hypercube respectively over the course of 2015. The record was mixed and mastered by Parker and will come available in CD and vinyl form. This is not the first occasion where Kelly and Parker have joined forces. The two work together in Corrections House, a project that also features the talents of Mike IX Williams of Eyehategod, and Bruce Lamont of Yakuza, and where Corrections House seem hell-bent on impersonal bludgeon and unrestrained panic, the pair’s latest project —MIRRORS FOR PSYCHIC WARFARE — is far more restrained.

“Ambient(-esque?), but tense and brooding..” – Decibel


April 12, 2016

ALARIC: Dark Punk Conjurors Premiere New Track At Invisible Oranges; End Of Mirrors Preorders Available

Photo Credit: Raul Varela

End Of Mirrors is the forthcoming full-length from Oakland-based dark punk conjurors ALARIC. Set for global release on May 6, 2016 on CD, vinyl, and digitally via Neurot Recordings, and on cassette via Sentient Ruin Laboratories, the record was captured and mixed by Skot Brown at Kempton House Studios and provides an emotional and deeply physical journey through inky, blackened sonic murk, devoid of all hope. Oppressive, gloomy, and epically grandiose, each of the seven psalms comprising End Of Mirrors is at once beautiful and unsettling.

As a precursor to its release, today Invisible Oranges offers up third movement, “Mirrors” for communal ingestion noting, "Though they boast Russ ‘Mr. Hate’ Kent of Noothgrush fame, ALARIC is not the type of metal band you would normally find on this website—or a metal band at all, for that matter. Though definitely doomed in their own unique way, ALARIC is a post-punk band at their core, but End Of Mirrors is no Mesh & Lace goth club party anthem. Maintaining a sluggish tribal beat for the majority, ‘Mirrors’ reaches the lowest levels of despondency – psychedelic, woozy, and cold – before reaching a rabid and aggressive conclusion. The groundwork set by bassist Rick Jacobus and drummer Jason Willer meld the simplicity of a strong, locked-in rhythm with enough space for their own tasteful finesse, be it a brief, memorable cymbal flourish or a room-filling sympathetic drone. Kent’s shimmering, sharp guitar work maintains a cutting fuzz, countering Willer and Jacobus’s rich, smooth sound and creates a striking melodic counterpoint with Shane Baker’s distinctly groaning voice. Though I had previously asserted that ALARIC had achieved their peak with their contribution to their 2012 split with fellow gloomers Atriarch, ‘Mirrors’ sets the bar higher. ALARIC is night music for aging punks – the sound of the last call at an emptied, dimly lit bar slowly purging its last denizens. To quote a song from a previous Alaric release, ‘the sadness goes on,’ and it certainly does.”


Delve deep into “Mirrors,” now playing at Invisible Oranges at THIS LOCATION.




And if you missed it, sample “Angel,” still streaming at Cvlt Nation, at THIS LOCATION.

For various End Of Mirrors preorder bundles go HERE.

ALARIC -- featuring within its ranks current and former members Of Dead And Gone, Pins Of Light, Noothgrush, Hedersleben and UK Subs -- began their voyage in 2008 with an eye toward creating moody and compelling music unlike any other. Beginning with influences from such progenitors as Killing Joke and Christian Death to the darkest, heaviest punk bands and the most epic psychedelia, the band has dedicated itself to creating a singularly shadowy electric guitar-driven music. ALARIC’s previous releases include a debut single Animal/Shadow Of Life (FYBS/ Buried In Hell Records, 2010), a self-titled LP (20 Buck Spin, 2011) and a split 12” LP, with Atriarch (20 Buck Spin, 2012). ALARIC, who recently opened for Neurosis on one of their three special thirtieth anniversary shows in San Francisco earlier this month, completed a full European tour with Cross Stitched Eyes last Fall and are currently plotting live assaults in support of End Of Mirrors.

“…a deathrock opera that brilliantly sews together the dusky emotivity of Bauhaus and Christian Death, the punishing and bleak atmospheres of Killing Joke and of the heaviest punk bands, and the desolate and hopeless atmospheres of the most crippling doom.” – Cvlt Nation






March 31, 2016

MIRRORS FOR PSYCHIC WARFARE Featuring Neurosis’ Scott Kelly And Buried At Sea’s Sanford Parker Unveils First Single From Forthcoming, Self-Titled Debut; Release Date Confirmed + Preorders Available

Photo Credit: John Sturdy

“It's a simple path that leads to a complicated vision; always in flux and never yielding to the destroyers.” – Scott Kelly on “Oracles Hex”

Scott Kelly (Neurosis) and producer/engineer/sonic warlord Sanford Parker (Buried At Sea) are restless. This inquietude has culminated in another collaboration. The two work together in Corrections House, a project that also features the talents of Mike IX Williams of Eyehategod, and Bruce Lamont of Yakuza. While Corrections House seem hell-bent on impersonal bludgeon and unfettered terror, the pair’s latest project — MIRRORS FOR PSYCHIC WARFARE — is far more restrained.

The band’s haunting self-titled debut is the sonic manifestation of insomnia, complete with the tossing, the turning, and the perennial dread that comes with facing another shabby daylight. The five songs lurch and pulsate across a desolate landscape with an almost curious obsessiveness. While Mirrors for Psychic Warfare may remind some of the best work on the classic Cold Meat Industry label, there is enough familiar Kelly/Parker-isms scattered throughout to keep the album stimulating. It is a work with more in common with a fever or a fitful wraith than a record.

As a precursor to its release, set for April 22nd via Neurot Recordings, today Decibel Magazine delivers the unsettling sounds of opening hymn, “Oracles Hex” for communal ingestion issuing of the track, “Ambient(-esque?), but tense and brooding, ‘Oracles Hex’ sits heavy, so fans of both associated artists will find plenty to enjoy here.”

Hear “Oracles Hex” at THIS LOCATION.


Mirrors For Psychic Warfare was realized and recorded by both Kelly and Parker at Actual 13 Studio and Hypercube respectively over the course of 2015. The record was mixed and mastered by Parker and will come available in CD and vinyl form.

For preorders point your browser to THIS LOCATION.



March 23, 2016

THE BODY And FULL OF HELL: One Day You Will Ache Like I Ache Streaming In Its Entirety At Decibel; Record To Drop This Friday Via Neurot + European Tour Draws Near

This Friday marks the official release day of One Day You Will Ache Like I Ache, the fittingly-titled, collaborative debut between apocalyptic doom duo, THE BODY, and grindcore/harsh noise miscreants, FULL OF HELL. In celebration of its release, today Decibel Magazine is traumatizing the airwaves with a stream of the record in its ravaging entirety.

Photo Credit: Reid Haithcock
Feel the sonic devastation of One Day You Will Ache Like I Ache at THIS LOCATION.

Additionally, gluttons for punishment can view the video accompaniment to second movement, “Fleshworks,” still playing at Noisey HERE.

Neurot Recordings will issue One Day You Will Ache Like I Ache on March 25th, 2016 with preorder bundles available at THIS LOCATION.


One Day You Will Ache Like I Ache came together during last year’s monolithic North American trek which united both bands. Amidst the chaos of tour life, the two groups found time to record together at Machines With Magnets in Providence, Rhode Island. The session eventually culminated into the harrowing sounds found on One Day You Will Ache Like I Ache, which is ultimately an audio reflection of their surroundings and their inability to cope therein. The record includes two bonus tracks as well as a bastardized rendition of Leonard Cohen’s “The Butcher.”

Pitchfork calls the record, “a document of the overwhelming power of depression,” further elaborating, “Throughout they’re taking risks, abandoning straightforward metal trappings to pile noxious noise blasts on shredded 808s (‘Bottled Urn’) or turning Leonard Cohen ballads into doom-metal dystopias… But even as they explore alien aesthetics, THE BODY and FULL OF HELL are constantly finding ways to uphold the spirit of each other's work. They’re united in their disposition, up until the record’s final moment, a sample of the HBO movie You Don’t Know Jack that seems to sum up what precedes it: ‘Loss, loss, loss, loss, loss.’”

“This release never feels like it is heading too much in one direction, managing to stay dynamic and repugnant at all time by switching between tortured doom and frantic attack,” issues Pure Grain Audio in a 9/10 rating. “That tortured vibe carries through One Day You Will Ache Like I Ache in every choice these bands make, resulting in a record that is both cohesive and hellish, and inevitably providing the perfect soundtrack to the latter.” In a perfect 5/5 score, New Noise Magazine hails, “a landmark release in the realm of all heavy music,” and an, “absolute assault on your senses that will leave an imprint for years to come and not be forgotten. For maximum experience, listen at full volume in a cold, bare and unclean room with flickering lights while half naked and in a deranged state.” Heavy Blog Is Heavy concurs in a 4.5/5 review noting,“One part noisy electronics, one part thick, droning sludge, one part blast-beat-centric hardcore, and a whole hell of a lot of negative emotions, One Day You Will Ache Like I Ache is the result of two extremely competent bands doing what they do best, together. This is not a pretty record; this is not a subtle record. This album is everything disgusting and vile on this planet mashed into a half-hour of sound.”

Following the release of One Day You Will Ache Like I Ache, the nihilistic union will descend upon Europe together this April. The string of dates will see the bands traveling across the Netherlands, Belgium, the United Kingdom, Denmark, Germany, Czech Republic, France, Spain and Portugal, including appearances at the renowned Roadburn Festival and providing support for Converge’s “Blood Moon” spectacle at the Electric Brixton, London.


THE BODY + FULL OF HELL European Tour Dates 2016:
4/06/2016 Vera – Groningen, NL
4/07/2016 Magasin 4 – Brussels, BE
4/08/2016 Het Bos – Antwerp, BE
4/09/2016 Ritual Festival @ Canal Mills – Leeds, UK w/ Conan, 40 Watt Sun
4/10/2016 Audio – Glasgow, UK
4/11/2016 Rainbow Cellar – Birmingham, UK
4/12/2016 The Ruby Lounge – Manchester, UK
4/13/2016 Electric Brixton – London, UK w/ Converge “Blood Moon”
4/14/2016 Roadburn Festival – Tilburg, NL
4/16/2016 KB18 – Copenhagen, DK
4/17/2016 Kantine Am Berghain – Berlin, DE
4/18/2016 Klub 007 – Prague, DE
4/19/2016 Feierwerk – Munich, DE
4/20/2016 Jubez – Karlsruhe, DE
4/21/2016 Gaswerk – Winterthur, CH
4/22/2016 La Machine A Coudre – Marseille, FR
4/23/2016 Sidecar – Barcelona, ES
4/24/2016 Moby Dick – Madrid, ES
4/25/2016 Musicbox – Lisbon, PT
4/26/2016 Cave 45 – Porto, PT
4/27/2016 Santana 27 – Bilbao, ES
4/28/2016 Le Saint Des Seins – Toulouse, FR
4/29/2016 La Mecanique Ondulatoire – Paris, FR
4/30/2016 Tivoli De Helling – Utrecht, BE

ALARIC: New Hymn From Oakland-Based Dark Punk Alchemists Playing At Cvlt Nation


“…a magnificent aural monolith to gloom…” – Cvlt Nation


Oakland-based dark punk alchemists ALARIC will undrape their long-anticipated new full-length, End Of Mirrors, this Spring on CD, vinyl, and digitally via Neurot Recordings, and on cassette via Sentient Ruin.

Photo Credit: Raul Varela
Oppressive, gloomy, and epically grandiose, each of the seven hymns comprising the offering provides an emotional and deeply physical journey through inky, blackened sonic murk, devoid of all hope.

In advance of its release, today Cvlt Nation offers up the first teaser from the record in the form of closing hymn, “Angel.”

“‘Angel' is the last song we wrote for the album and the first to be revealed,” reveals vocalist Shane Baker of the track. “The bass and drums push and pull in a waltz while a melodic lead guitar threads through. The narrative seems a story of a romance that is doomed when the narrator goes off to war. The endless eternal war. There was Eden and then there was the death of innocence. It relates to all falls from grace, which is just change. There is Lucifer and his angels falling from heaven, disappointed and heartbroken with their God as they vow to create a new world for themselves in Hell. And then there is hope.”
Cvlt Nation champions, “a magnificent aural monolith to gloom – a deathrock opera that brilliantly sews together the dusky emotivity of Bauhaus and Christian Death, the punishing and bleak atmospheres of Killing Joke and of the heaviest punk bands, and the desolate and hopeless atmospheres of the most crippling doom.”

Hear “Angel” at THIS LOCATION.


ALARIC’s End Of Mirrors is set for global release on May 6th, 2016. 

End Of Mirrors was recorded and mixed by Skot Brown at his Kempton House Studios. Brown -- who’s worked on previous ALARIC works -- provides an integral contribution to the offering in capturing the band’s vision and expanding upon it to manifest a soundscape that can be dark, unsettling, and complex while still giving the songs a chance to breathe and shine with extraordinary clarity. 

Make no mistake, End Of Mirrors is no passive listen. Shane Baker’s lyrics are deeply personal yet universal in scope, reflecting hard times in a fallen world at a moment of monumental change in the lives of the band members. Drummer Jason Willer provides ALARIC’s percussive punishment, driving the band forward with power and finesse and then dropping down into a roiling boil of tribal toms. Bassist Rick Jacobus deals in woozy but solid lines that carry melody while simultaneously filling the sonic space with riding drone notes. Russ Kent’s guitar playing creates scintillating, cascading moments of beauty – his own “sheets of electric rain” — that open into crushing and aggressive distortion. It all comes together and twines around the atmospheric explorations of newly enlisted sound artist and experimental electronic musician Thomas Dimuzio who utilizes a Buchla Polyphonic radio tuner, modular analog synthesizers, and other non-traditional methods to create his art.

ALARIC began their voyage in 2008 with an eye toward creating moody and compelling music unlike any other. Beginning with influences from such progenitors as Killing Joke and Christian Death to the darkest, heaviest punk bands and the most epic psychedelia, the band has dedicated itself to creating a singularly shadowy electric guitar-driven music. ALARIC’s previous releases include a debut single Animal/Shadow Of Life (FYBS/ Buried In Hell Records, 2010), a self-titled LP (20 Buck Spin, 2011) and a split 12” LP, with Atriarch (20 Buck Spin, 2012). ALARIC, who recently opened for Neurosis on one of their three special thirtieth anniversary shows in San Francisco earlier this month, completed a full European tour with Cross Stitched Eyes last Fall and are currently plotting live assaults in support of End Of Mirrors.

Further info on End Of Mirrors, including preorder links to be unveiled in the coming weeks.

February 26, 2016

THE BODY And FULL OF HELL Premiere Cover Of Leonard Cohen's “The Butcher” At Cvlt Nation; One Day You Will Ache Like I Ache Out March 25th + European Tour Looms

[Photo credit: Reid Haithcock]


Nestled between the harrowing originals that THE BODY and FULL OF HELL created for their upcoming full-length, One Day You Will Ache Like I Ache, is a cover so radically reworked that even the closest listener might miss it. “The Butcher,” originally by Leonard Cohen, is shattered in to bits and pieced back together to create a jarring noisescape, mimicking the blues scale with landslides of shifting feedback, and orated in the trademark style of Chip King


Listen To THE BODY and FULL OF HELL's cover of “The Butcher,” now playing at Cvlt Nation RIGHT HERE who commends the track’s, “…creepy as fuck Screamin' Jay Hawkins high on doom vibe.”


You can also Sample the ferocious sounds of “The Little Death” still streaming at Spin at THIS LOCATION.


In related The Body and Full Of Hell news, the nihilistic union will descend upon Europe together this April. The string of dates see the bands travel across the Netherlands, Belgium, the United Kingdom, Denmark, Germany, Czech Republic, France, Spain and Portugal, including appearances at the renowned Roadburn Festival and providing support for Converge’s “Blood Moon” spectacle at the Electric Brixton, London.


THE BODY + FULL OF HELL European Tour Dates 2016:


4/06/2016 Vera – Groningen, NL
4/07/2016 Magasin 4 – Brussels, BE
4/08/2016 Het Bos – Antwerp, BE
4/09/2016 Ritual Festival @ Canal Mills – Leeds, UK w/ Conan, 40 Watt Sun
4/10/2016 Audio – Glasgow, UK
4/11/2016 Rainbow Cellar – Birmingham, UK
4/12/2016 The Ruby Lounge – Manchester, UK
4/13/2016 Electric Brixton – London, UK w/ Converge “Blood Moon”
4/14/2016 Roadburn Festival – Tilburg, NL
4/16/2016 KB18 – Copenhagen, DK
4/17/2016 Kantine Am Berghain – Berlin, DE
4/18/2016 Klub 007 – Prague, DE
4/19/2016 Feierwerk – Munich, DE
4/20/2016 Jubez – Karlsruhe, DE
4/21/2016 Gaswerk – Winterthur, CH
4/22/2016 La Machine A Coudre – Marseille, FR
4/23/2016 Sidecar – Barcelona, ES
4/24/2016 Moby Dick – Madrid, ES
4/25/2016 Musicbox – Lisbon, PT
4/26/2016 Cave 45 – Porto, PT
4/27/2016 Santana 27 – Bilbao, ES
4/28/2016 Le Saint Des Seins – Toulouse, FR
4/29/2016 La Mecanique Ondulatoire – Paris, FR
4/30/2016 Tivoli De Helling – Utrecht, BE





Neurot Recordings will issue One Day You Will Ache Like I Ache on March 25th, 2016 with preorder bundles available at THIS LOCATION.


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