Kudos to UK two-piece Bismuth on their signing to Prosthetic Records. I was fortunate enough to catch their set at the skate park at Roadburn this past April (review here), and in addition to being insanely jealous of bassist/vocalist Tanya Byrne‘s Khanate t-shirt, it was readily apparent from watching them play that they were onto something special in terms of sound and perspective. Their 2018 LP, The Slow Dying of the Great Barrier Reef (discussed here), certainly bore that out as well, and earlier this year, they followed that with a reissue of the 16-minute single “The Eternal Marshes,” which was originally released in 2012.

They’ll tour the UK and do two shows in Ireland in January alongside Body Void, and they’re reportedly writing new stuff, so maybe a later 2020 release? They’ll also be back at Roadburn in 2020, doing a commissioned project in collaboration with Vile Creature, who as fate would have it, are also signed to Prosthetic. Funny how these things work out sometimes, isn’t it?

From the PR wire:

BISMUTH SIGN TO PROSTHETIC RECORDS; ANNOUNCE TOUR DATES

Heavy-slow duo BISMUTH have announced their signing to Prosthetic Records, alongside confirmation of a run of tour dates for the new year.

The Nottingham, UK-based two-piece, consisting of Tanya Byrne (bass/ vocals) and Joe Rawlings (drums) released their latest album to great critical acclaim in 2018. The Slow Dying Of The Great Barrier Reef is a two track opus, with the title track clocking in at a hefty 32 minutes. The band has toured consistently with the likes of Primitive Man and Vile Creature as well as performing at festivals such as Roadburn and Supersonic.

Of their signing to the US label, Tanya comments:
“We are excited to share that we will working with Prosthetic Records and they will be releasing our music going forward. We are heading into the studio later next year to record album number three!”

E.J. Johantgen of Prosthetic Records adds: “There’s such a rich seam of heavy underground talent in the UK at the moment – and Bismuth are a band that caught our eye for their distinctiveness and passion. We’re really looking forward to working with Tanya and Joe, and supporting them as we see where this journey takes us.”

BISMUTH are currently writing material for their next album, which will be recorded in 2020 and released via Prosthetic. The band will perform at Roadburn 2020 alongside now-labelmates Vile Creature in a specially commissioned collaborative performance under the banner A Hymn Of Loss And Hope. BISMUTH have also just announced a UK and Ireland run of dates for January – full dates can be found below.

BISMUTH w/ Body Void
January 9 – Stuck On A Name, Nottingham, UK
January 10 – Bello Bar, Dublin, IE
January 11 – Fred Zeppelin’s , Cork, IE
January 12 – The Kazimier Garden Stockroom, Liverpool, UK
January 14 – Nice and Sleazy’s, Glasgow, UK
January 15 – Henry’s Cellar Bar, Edinburgh, UK
January 16 – The Station, Birmingham, UK
January 17 – The Old England, Bristol, UK
January 18 – The Black Heart, London, UK (Matinee show)

Bismuth are:
Bass and vocals: Tanya Byrne
Drums: Joe Rawlings

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Bismuth, “The Eternal Marshes” (re-release)

History has shown that Roadburn has never been shy about taking chances and embarking on a creative progression, and Roadburn 2020 certainly seems to follow suit. Confirmed as curators are Emma Ruth Rundle and Perturbator‘s James Kent, who will no doubt each bring something very different to expand the festival’s already spectrum-encompassing sonic palette, and there will be three commissioned projects, one involving Kent, another Jo Quail and still another a collaboration between Bismuth and Vile Creature. Sounds pretty “out there?” Well, “out there” is what Roadburn does at this point, becoming the place whereby the new normal is established and promulgated while the rest of us try to keep up.

This is the first announcement and there will for sure be plenty more to come. Roadburn unveiled its gorgeous poster art last week — I friggin’ love it — and promise a year that will challenge convention and continue to push into new territory of and beyond what “heavy” means and can accomplish. I wouldn’t have it any other way.

Tickets on sale next month. Here’s word from the PR wire:

Roadburn Festival 2020 – Curators, Commissioned Projects & More

– For the first time, Roadburn Festival will have two separate curators
– Three commissioned projects for 2020
– Julie Christmas
– Tickets on sale September 24

CURATORS

Each year we give over a slice of Roadburn’s line up to a carefully hand picked curator; they put their distinctive stamp on a corner of the festival and make it their own. For 2020, we have not one but two curators stepping up to the plate. Operating entirely separately, and connected by little more than their common association with Roadburn Festival – and of course their insatiable appetite for creativity – Roadburn’s 2020 curators are limbering up to deliver something special. Expect the unexpected.

CURATOR: EMMA RUTH RUNDLE

Emma has left such a mark on the festival, and the wider musical landscape over the past few years; we’re honoured to invite her back to Roadburn as a curator – a new role for her, but one that she is more than ready for. Her expansive creativity and curious explorations have already led her towards collaborations – both live and on record. Her musical taste is broad and in keeping with Roadburn’s desire to explore the many facets of heavy music.

CURATOR: JAMES KENT (PERTURBATOR)

Few artists have straddled metal and electronic audiences as effortlessly as Perturbator. With personal tastes deeply rooted in metal, and an output that pulsates with digital slickness, James Kent embodies everything that is exciting about dark synth music today. His refreshing approach to creativity and his ability to explore heaviness in innovative ways makes him an ideal candidate for Roadburn’s 2020 curatorship role. We’re thrilled to have him on board. Read more about James’s curation here.

COMMISSIONED PROJECTS

2020 marks the third edition of Roadburn during which we will host specially commissioned pieces of music making their worldwide debut. Already, Roadburn’s commissioned projects have spawned ambitious, life affirming, bone-trembling ensembles that exceeded our expectations and wildest dreams. 2020 is shaping up to continue where we left off, with yet more innovative and exhilarating collaborations. Roadburn’s commissioned projects are made possible thanks to the continued support of Brabant C and The City of Tilburg.

JAMES KENT & JOHANNES PERSSON

Our 2020 curator, James Kent AKA Perturbator is set to join forces with Cult of Luna’s Johannes Persson for a commissioned performance that will form something of a grand centre-piece for Roadburn, and of James’s curation.
Their open-mindedness in relation to creativity and composition is well documented in their individual back catalogues, and for the first time we’ll witness what their combined efforts will look, sound and feel like, come April 2020. A hypnotic build of atmosphere and layering is likely to feature heavily during the performance; cinematic ambiance and enveloping emotional soundscapes are coded into their DNA.

JO QUAIL PRESENTS THE CARTOGRAPHER

Jo Quail dipped her toes in the intoxicating waters of Roadburn back in April when she performed alongside Mono, At The Gates, and Myrkur. She may not have been centre-stage but her contributions were not unnoticed; Jo conveys enormous emotion via her passionate and extraordinary cello playing.

With an intention to explore heaviness, Jo’s focus is exploring the juxtaposition between classical and more contemporary music, in this case post-metal. “Arguably heaviness is an emotional concept, reaching far beyond the confines of volume, speed and instrumentation,” Jo says. Jo will join forces with Rotterdam’s highly regarded New Trombone Collective – a group of trombonists who pride themselves on innovation, creativity and collaboration – to work towards communicating specific feeling through their combined output.

VILE CREATURE & BISMUTH: A HYMN OF LOSS AND HOPE

An overwhelming response to both bands at Roadburn 2019, coupled with our own insatiable appetite for creativity and innovation has led to us inviting VILE CREATURE and BISMUTH to collaborate on a specially commissioned project for Roadburn 2020. Titled A Hymn of Loss and Hope, the collaborative piece will be performed for the first – and the last – time at Roadburn. A literal once in a lifetime chance to see these incredible forces combine to perform a piece that is already brewing and a-bubbling as you read.

JULIE CHRISTMAS

Julie Christmas has one of the most distinctive voices in alternative, discordant music – and it’s a thrill for us to announce that we’ve not heard the last of that glorious voice at Roadburn. From Made Out of Babies, through Battle of Mice, as a solo artist, and as a collaborator with Cult of Luna’s on their stunning 2016 album Mariner, Julie has left a distinctive, subtle but indelible bruise on our record collections.

Her back catalogue is varied but all branded with a distinctive Christmas flair, so whichever route she takes, it’s a rabbit hole that we’re ready and willing to follow her down. At Roadburn 2020, Julie will perform a special, exclusive set comprising of both old favourites and new material. Read that again: new material. Joining Julie as part of her backing band will be Johannes Persson and ex-Kylesa guitarist, Laura Pleasants.

OFFICIAL POSTER ART: DOUWE DIJKSTRA

Last week we unveiled the official poster artwork for Roadburn 2020. Created by Dutch artist, Douwe Dijkstra, the poster very much sets the scene for Roadburn – exploring new musical landscapes and embarking on a voyage of discovery.

ROADBURN 2020 TICKETS

Tickets to Roadburn 2020 will go on sale on Tuesday, September 24. More details will be made available in the coming weeks.

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Roadburn 2020 First Announcement Video

I mean. Look. Hey. You know. It’s, uh. Yeah.

Roadburn and I kind of hit this point every year — at least we have for the last decade. The lineup announcements come through, and after a while, I just don’t even know what to say about it anymore. “Hey, so, look’s like Roadburn‘s gonna be all things to all people again” doesn’t really cut it as far as editorial content goes.

Here’s a point I’ll make: I think if you look at the Roadburn 2019 lineup, with its three commissioned projects — the third of which is newly announced — two career-spanning headline slots from Sleep, bands from multiple corners of the globe, a couple label showcases thrown in for good measure, and more still to come, it’s pretty safe to say it’s the biggest, farthest-reaching Roadburn yet. And even that. Is something I say. Every friggin’ year.

Doesn’t mean it doesn’t apply. It’ll be nice to see Grails again, and I was hoping Hexvessel would get added when their new video showed up earlier this week. A little more Aaron Turner doesn’t hurt either.

The PR wire has the lot of it, and you’ll see below the gorgeous individual day posters by Maarten Donders.

Dig:

More names announced for Roadburn 2019 including third commissioned project

– Tomas Lindberg adds more names to The Burning Darkness including GRAILS and URAN
– HEXVESSEL to perform All Tree in full
– Dutch black metal to be showcased in commissioned project MAALSTROOM
– Aaron Turner, Will Brooks and Dennis Tyfus to unite as DOOLHOF

Roadburn’s artistic director, Walter Hoeijmakers comments:

“We’re thrilled that 4-day tickets have sold out this side of Christmas – with still some of the line up to announce! Don’t delay on day tickets as we hope that they too will go quickly. We are nearing the end of our announcements, but there is still a handful of bands to present in the new year.”

TOMAS LINDBERG’S THE BURNING DARKNESS

GRAILS

GRAILS are set to return to Roadburn Festival exactly ten years after they performed at Neurosis’ curated event, Beyond The Pale back in 2009. We’re thrilled to announce that they’ll be making a return to join us in Tilburg – once again as a result of an invitation from our curator.

FONTÄN

“The whole vibe of FONTÄN reeks of folky, trippy melancholia, in the most unsentimental way. This is something that could easily have been produced by Brian Eno in his prime.” says Lindberg of his choice.

THE EXORCIST GBG

One of three Gothenburg based bands in this latest announcement, Lindberg describes THE EXORCIST GBG as: “a mind and time bending electronic psych experience, with a serious funk dance groove, like the legendary Goblin on dangerous cult-ritual-inducing drugs.”

URAN

When Tomas Lindberg describes a band as Sweden’s best kept secret, it’s time to start paying attention. He comments of URAN: “Imagine the heaviest psych, in a street fight with the most hypnotizing Stooges riffs, with an electronic Kraut edge and a monstrous Hawkwind presence.”

HEXVESSEL

HEXVESSEL’s new album, All Tree, will be released in February and the sole track released at the time of writing gives a tantalising glimpse of what to expect. It’s considered, haunting and – quite honestly – downright beautiful.
Prepare yourselves for some pin-drop moments amongst some soul shaking sonic shifts: Hexvessel are back!

DOOLHOF

The component parts of DOOLHOF are Aaron Turner, Will Brooks and Dennis Tyfus. Musically and artistically these three men appear to be worlds apart but look a little deeper and it’s obvious there’s a streak of experimental vigour and curiosity that runs through them all – and in this case, unites them.

When the idea of a collaborative project was floated, Turner singled out Will Brooks early on. Brooks made his Roadburn debut with Dälek in 2017; one of the most talked about performances of that edition, Dälek were instrumental in expanding the scope of the festival. Tyfus is a Belgian audio/visual artist whose Ultra Eczema label has served as the nucleus for a vast and eclectic array of creative endeavours.

That its participants have named it DOOLHOF (Dutch for ‘maze’) leads our minds to bubble over with possibilities.

MAALSTROOM

The third and final commissioned piece for Roadburn 2019 is a collaboration between a seething mass of up and coming – not to mention, vitally important – Dutch black metal bands. The project is titled MAALSTROOM and will unite over a dozen musicians from Laster, Verwoed, Witte Wieven, Turia, Fluisteraars, Grey Aura, Terzij de Horde, Folteraar, Nefast – and more.

Roadburn has showcased slivers of this innovative and burgeoning scene in previous years, but never before has such a heavy and accomplished array of Dutch musicians gathered together under one banner.

Exclusively for Roadburn Festival, MAALSTROOM will compose and perform a piece that spans five movements, with an evolving line-up of performers embellishing an ambient backdrop. This is not merely a show, nor a ritual; it is a current to be dragged along by.

MAALSTROOM is possible thanks to the continued support of the City of Tilburg and Brabant C.

As well as participating in MAALSTROOM the following bands will perform their own sets at Roadburn Festival 2019:
LASTER
TERZIJ DE HORDE
WITTE WIEVEN
DODECAHEDRON
TURIA
NUSQUAMA

ALSO ANNOUNCED TODAY:
BISMUTH bring ethereal doom to Roadburn
COILGUNS are primed to deliver an ear pummelling
CROWHURST will bring a world of pain
CROWHURST & GNAW THEIR TONGUES unite in harsh noise
FAUNA evoke manifestations of nature and wilderness through the lens of black metal
FOTOCRIME will shed light on a darkened room
LUCY IN BLUE set off on a psychedelic prog quest to Roadburn
PHARMAKON will summon disconnecting ambience and caustic crescendos of industrial noise
THOR & FRIENDS to bring their warm, hypnotic songs to Roadburn
TWIN TEMPLE’s Satanic doo-wop will reign supreme
WRONG will deliver angular melody and abrasiveness

TICKETS:
Single day tickets will go on sale on tonight – Thursday, December 13 at 8pm CET/7pm GMT/ 2pm EST. 4-day tickets are SOLD OUT, 3-day tickets are still available in limited numbers.

Tickets are be priced as follows:
3 days ticket (Thu-Sat) €181 + €4,50 service fee
Day ticket (Thu, Fri or Sat) €62 + €4,50 service fee
Sunday ticket €55,50 + €4,50 service fee

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Hexvessel, “Old Tree” official video

You only get a taste of it in the album trailer by Chariot of Black Moth streaming at the bottom of this post, but the 32-minute title-track of Bismuth‘s upcoming second full-length, The Slow Dying of the Great Barrier Reef, is heavy enough that you’ll be mopping your melted brain cells off the floor after they leak out your damaged ears. Provided you still have enough coordination to do so after the onslaught of noise and tonal weight. The Nottingham-based bass/drum duo will release the album Nov. 2 through no fewer than four labels — Dry Cough Records, Tartarus Records, Medusa Crush Recordings and Rope or Guillotine — and hearing it leaves little mystery as to why they’d garner such populous backing. Comprised just of the title-track and the subsequent six-minute scathe of noise-doom in “Weltschmerz,” it works around the theme of climate change and human impact on the planet, so yes, it is quite fucking grim. Quite fucking grim indeed. Just like our prospects for making it out of the next two centuries with a civilization intact. Good work, my fellow fuckwads.

Bassist/vocalist Tanya Byrne, when she’s not rumbling out the extreme-sludge chaos of Bismuth‘s low end alongside drummer Joe Rawlings in a bevvy of splits with the likes of Undersmile, Gnaw Their Tongues and Legion of Andromeda — significant company to keep, all of them — works as a volcanologist, and wrote the lyrics for The Slow Dying of the Great Barrier Reef in consideration of exactly what the title describes. Not subtle, but certainly a devastating aural interpretation of a continually devastated ecosystem. You”ll find some comment from her below relating to the album, followed by the release info, followed by the trailer premiere.

All thanks to the mighty and seemingly-carbon-free-but-still-probably-somehow-toxic PR wire. Remember, kids. We’re all complicit:

Tanya Byrne on The Slow Dying of the Great Barrier Reef:

Last year I’d been reading a lot about climate change and the impacts it has been having on various parts of the world. There are particular habitats that act as warning flags for other ecosystems, because they are more sensitive to subtle changes. The Great Barrier Reef is one such area: It has been experiencing drastic changes due to a rise in global sea temperatures. In recent years, up to 70 percent of the reef has experiencing bleaching. The corals die, and as less survive every year, the extent of the reef decreases.

My hope is that through listening to this album, listeners will be prompted to do their own research into the effects that our species are having on this planet, and to rely less on the over-simplification of this issue that is so often presented by media outlets or political parties. Their soundbites are good for quotes, but not for explaining this complex and interconnected problem. As an environmental scientist, I try to be hopeful for the future, but I feel optimism can only be gained if all countries and political parties stop blaming each other and start working together to prevent further degradation of our planet.

The current political discourse on how to reduce our impact on ecosystems is stuck in semantics, all while these systems degrade. I believe we can reduce our impact, and I am hopeful that solutions will be found. However, many of these solutions are halted, while governments argue over who is to blame. The album title makes reference to the fact that climate change is affecting this habitat extremely, and inaction is one of the biggest causes of its decline.

Heavy/ slow duo, BISMUTH’s upcoming album, titled The Slow Dying of the Great Barrier Reef, will be released on November 2 via a collaboration between four independent labels; Dry Cough (UK), Rope or Guillotine (NL), Medusa Crush (CA), and Tartarus Records (NL) who will jointly share release duties.

The two piece are based in Nottingham, featuring Joe Rawlings on drums and Tanya Byrne on bass/vocals. The Slow Dying of the Great Barrier Reef is their second full length release, and is in many ways a continuation of earlier work; a strong focus on multiple layers and frequencies coming together to create an enveloping and often oppressive sound is very much BISMUTH’s MO.

The Slow Dying of the Great Barrier Reef is a two song opus with quite self explanatory subject matter, lyric-wise. Outside of the band, Byrne, is a volcanologist with a passion for environmental science.

The title track is a 32 minute behemoth, which stays true to BISMUTH’s own description – heavy with a core of fragility. The second track, Weltschmerz is – musically and thematically – a continuation of the first. Whilst their songs lean towards being lengthy, the message and passion behind them never diminishes.

BISMUTH UK tour dates:
23.11 – Nottingham
24.11 – Manchester
25.11 – Glasgow
26.11 – Edinburgh
27.11 – Liverpool
28.11 – Leeds
29.11 – Birmingham
30.11 – Cardiff
01.12 – London
02.12 – Bristol
03.12 – Brighton

All dates are with VILE CREATURE.

The Slow Dying of The Great Barrier Reef is released on November 2nd via Dry Cough (UK), Rope or Guillotine (NL), Medusa Crush (CA), and Tartarus Records (NL).

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Bismuth, The Slow Dying of the Great Barrier Reef album trailer

Not that Desertfest London 2018 wasn’t already plenty heavy — I mean, fucking Napalm Death are playing — but pretty much anytime you add Suma and Primitive Man to anything, you’re going to jump into a different weight class entirely when it comes to tone. The Swedish noise-bludgeoners and Denver’s most wanted aggressors are just two of the six acts confirmed for this year’s Human Disease Promo / When Planets Collide stage, which is traditionally where one finds some of Desertfest London’s most vicious and brutal fare. It would seem 2018 is no different in this regard.

Oh, and Weedeater topping it all off with a set specifically comprised of early material? Nice touch. No way in hell that’s going to be anything other than a good time.

From the Desertfest site:

WEEDEATER, PRIMITIVE MAN AND MORE FOR HUMAN_DISEASE_PROMO / WHEN PLANETS COLLIDE STAGE!

Yet again, we’ve got our good friends from Human_Disease_Promo and When Planets Collide rolling in with their annual heavy stage. As ever, they’ll be delivering a slab of pure brutality this year bringing 6 new bands to the bill as well as a special second set from the previously announced Weedeater. Staggerin’ Matt tells us more about what to expect at The Underworld on Sunday 6th May below.

“This year we’ve gone for an all out colossus of weighty heaviness for the Human_Disease_Promo / When Planets Collide Stage at Desertfest 2018.

Along to top proceedings we have North Carolina reefer riff rascals Weedeater coming in for a special set – their second appearance of the weekend – heading up the Underworld to play a packed bowl of tracks from the earliest strains of their career. It’s gonna be a low down dirty hoot.

Backing them up will be the obscenely punishing, abrasive blows of Denver’s most crushing Primitive Man, stomping and hard driving riffs from Canadian bruisers Bison, a lush hammering pysche vortex in the form of Swedish outfit Suma, joining from St. Louis, the engulfing intensity of destructive filthsters Fister, Nottingham D.I.Y. downers / viscous sludge nasties Moloch and the gigantic cavernous rumblings of UK duo Bismuth.

All said it’s likely the heaviest lineup we’ve ever forged together for the Underworld to bear witness to, so come join us all day on the Sunday to have ya brain fried up and handed back as a pile of stewed mush! It’s gonna be bloody loud in there!”

With this latest set of additions to Desertfest 2018 and more still to come, on top of the dozens of great bands already announced, this year’s heavy weekender looks to bigger than ever. Don’t miss your chance to be at the UK’s premier underground festival. Book your tickets today.

Desertfest London 2018
4th-6th May in Camden Town, London
3-day pass (£115) now on sale AT THIS LOCATION

Our special split payment plan is available until December 12th!
Pay half of your ticket now and the other half in January. Find more info HERE.

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Weedeater, Live at Desertfest London 2014

Slow and low UK skullbashers Bismuth will release their debut album, Unavailing, on Nov. 25. Among the noteworthy factoids concerning the release is the following: There are no fewer than five labels involved. Frickin’ five. Meanwhile, there are only two people actually in the band, which with a bit of quick arithmetic tells us that there are quite literally more than twice as many imprints standing behind Bismuth‘s first album as there are people in the band. It’s not every group who can make such a claim.

A four-track 2LP — presumably that’s one per side — recorded and mixed by Chris Fielding (Conan) at Skyhammer Studio, Unavailing will be out on Dry Cough, De Graanrepubliek, Box Records, Tartarus Records and Viral Age. The band is comprised of bassist/vocalist Tanya Byrne and drummer Joe Rawlings. The numbers do not lie.

Into the void with you:

Bismuth – Unavailing: Double LP and cassette released Nov 25th

Unavailing is the debut album by aptly named Nottingham duo, BISMUTH.

“Bismuth has long been considered as the element with the highest atomic mass that is stable. However, in 2003 it was discovered to be weakly radioactive: its only primordial isotope, bismuth-209, decays via alpha decay with a half life more than a billion times the estimated age of the universe. Bismuth often appears as beautiful iridescent, spiral-stepped crystals.” This sums up the sound of the band well.

Like their namesake, the music that Bismuth create is incredibly dense, slow and heavy, but with moments of subtle, ethereal beauty. Bismuth balance stripped down ‘less is more’ approach to songwriting with a ‘more is more’ approach to amplification, volume and fuzz to create a crushing and monolithic sound.

Unavailing consists of four epic tracks recorded and mixed at Skyhammer Studios by Chris Fielding, and mastered by James Plotkin. It will be presented as a double LP in an edition of 300 copies as a cooperative release between the band, De graanrepubliek, dry cough, box records and viral age, with tartarus records handling the cassette version.

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Bismuth, Live at SOAN 25/07/2014

As far as I’m concerned, this one gets a twofold fucking a: It exists and you can hear it now. Disgruntled sludgers Bismuth and drone-minded nightmare-conjurers Undersmile have partnered, each with a vinyl side of their own brand of sonic madness. Put some Tony Roberts art on it, press it to tape and LP, and you’re good to go. Tartarus Records has the beast available for preorder and that’s great, but what’s even better is being able to listen to its low end drag before you make your purchase.

This is the first I’m hearing of Bismuth and it’s pretty clear from “Collapse” that I need to go back and check out their 2012 Eternal Marshes demo. For Undersmile, they follow-up the split with their acoustic alter ego, Coma Wall, with a 23-minute behemoth of a track as tonally huge as it is melodically disturbed. It’s not easy listening, but I dig the challenge.

Preorder link, Tony Roberts artwork and the standard Bandcamp player follow, hot off of the PR wire:

TAR023 Bismuth / Undersmile split

Amp worship meets agonizing doom. Finally a split release between two of UK’s heavyweights in female fronted doom and sludge. Bismuth from Nottingham offer Collapse, a worthy follow-up to the Eternal Marshes demo tape, released last year. More bleak drone landscapes and torturous vocals by Tanya. Undersmile from Witney chose for an atmospheric approach on their side of the split and came up with Titanaboa; a dark, nightmarish beast of a track. Truly their best offering so far. The artwork was made by the amazing Tony Roberts, which fits perfectly with both bands.

FFO: Khanate, Corrupted, Bell Witch, Ensorcelor.

The LP is a co-release between Graanrepubliek Records, Tartarus Records and At War With False Noise

Pressing info:

100 gold cassettes
100 red/black vinyl (mailorder only)
200 black vinyl

Preorder the cassette, vinyl & special bundles here: http://tartarusrecords.com/album/split-2

Bismuth/Undersmile, Split LP (2013)