Pleasant surprise out of Copenhagen in the news of a second full-length from boogie-doomers Demon Head. The Danish five-piece made an encouraging debut in 2015 with Ride the Wilderness (review here) as the follow-up to two shorter offerings from the year before,Demo 2014 (review here) and the Demon Head b/w Winterland (review here) single, and though it seems like a quick turnaround now toward the next LP, part of that no doubt stems from the fact that we’re still nearly five months off from the actual release date for what’s been titled Thunder on the Fields, which is out April 7.

That means we’re early yet for things like audio premieres or tracklisting info — though the album seems to have been completed for some time — but we know it’ll be released through The Sign Records and Caligari Records and we’ve got the cover art to go on and a solid date, so that’s enough for me at least to get behind giving a heads up. So yeah, heads up.

From the PR wire:

DEMON HEAD – THUNDER ON THE FIELDS

CD/LP/DIGITAL Out 7th of April 2017

Lightning on the horizon…

On the 7th of April 2017, Demon Head’s new album THUNDER ON THE FIELDS will be released through The Sign Records. The songs were recorded by the Copenhagen band onto 16-track tape, in an isolated cabin where they locked themselves in for weeks in the winter of 2016.

Like its well-received predecessor Ride The Wilderness, the fruit of their communal work is powerfully crafted from start to finish. While the sound stays true to the sinister atmosphere of the debut album, the music has evolved to the next logical step: darker, more tight-knitted, and more diverse. Demon Head is not about trends or imitation. It is about the burning love for music. While in part an homage to the first heavy music, the songs have their own voice. The attitude is of originality and urgency rather than pretense.

Since the beginning, the band has relentlessly travelled on the road and off the beaten path, playing loud, wild concerts with bands from many genres and scenes. In the same way, the influences on THUNDER ON THE FIELDS are hard to pinpoint; many have experienced that nothing sounds quite like the doom-tinged heavy rock of Demon Head, while it retains a strange familiarity of haunting melodies that don’t seem to want to escape the listeners cranium. Comparison is always difficult and limiting, but you might get an idea of the direction if you imagine if the tour bus of Judas Priest had crashed into a whiskey bar where The Doors and Neil Young throw dice with the devil, while The Stooges cover Big Mama Thornton on the decrepit corner stage.

Vinyl, CD, and digital versions will be available worldwide, courtesy of The Sign Records. Cassette tapes will be released through Caligari Records.

https://www.facebook.com/Demoncoven/
http://demonhead.bandcamp.com/
https://www.facebook.com/thesignrecords/
http://caligarirecords.storenvy.com/
http://freighttrain.se/en/

Demon Head, “Miles Ahead” from Split with Alucarda (2015)

[Click play above to stream Mindkult’s Witch’s Oath EP in full. Out soon on Caligari Records.]

Enter Mindkult. So far as I can tell, Witch’s Oath is the debut offering from the Virginia-based outfit, a 25-minute four-songer with a heart geared toward analog-grain horrors and distorted riffs to accompany. The reason I say “so far as I can tell” is because there isn’t a lot to go on when it comes to Mindkult. In the tradition of Uncle Acid and the Deadbeats‘ beginnings — and the songs on Witch’s Oath work in that tradition as well — Mindkult‘s sole inhabitant, who goes by Fowst, has kept much a secret going into this first release, presumably to add a sense of mystique.

A search on Monticello Studios, where the EP was reportedly recorded, likewise yields little result, but I’d be surprised if by the time Fowst gets around to following up Witch’s Oath — which is being pressed to CD and tape by Caligari Records — there isn’t more public info available, since the one-man band tap into modern cultish swing and sound natural and full doing so, like a complete band. Which I suppose it is if it sounds that way. Whether or not Fowst recorded “King and Priest,” “Witch’s Oath,” “Serpent’s Nest” and the crawling closer “Chief of Devils” himself is my most pressing question, since being so utterly self-contained could play heavily into the trajectory of the project, but I take it as a sign of the positive impression these cuts leave that one might be tempted to think about the future in the first place. Mindkult, though I won’t say much for the moniker, could most definitely have a future.

To call the project insular seems fair, and while I obviously don’t know Fowst‘s background musically, the signs showed here of having such a clear aesthetic foundation for Mindkult would seem to hint toward past experience in one kind of band or another, though confirmation on that is nil. Could be that dude is 19, has never put anything out before and just happened to nail it — one scenario is as likely as the other. The important thing is he did nail it. Opting to actively depart from the blueprint of the aforementioned Uncle Acid in the vocals becomes a major factor in Witch’s Oath‘s success.

Whether it’s on the rolling opener and longest track (immediate points) “King and Priest” or the more uptempo and swinging title-track that follows, Fowst keeps a calm, morose pout, almost shoegazing, in his voice, which is forward in the chorus of the leadoff, but almost buried in “Witch’s Oath,” which seems to run in an attempt to catch up with its winding guitar line during the chorus, setting up a depth in the mix that doesn’t undercut the rawer garage doom vibe in the sound but makes the EP a richer listening experience overall. As side one of a tape, there’s little more one could ask of “King and Priest” or “Witch’s Oath” in establishing the groove and the palette with which Fowst will work on the complementary two tracks, and the leads at the end of “King and Priest” follow a bluesy but plotted course that speak to an underlying consciousness at work, buzzing into the shuffle of “Witch’s Oath” with fluidity bolstered by the haziness of the guitar and bass tones, though as ever, it’s the drums — or drum programming; could go either way — that ties everything here together.

Side two essentially reinforces what Mindkult had on offer in the first two songs, but builds on it as well, as “Serpent’s Nest” finds middle ground between “King and Priest” and “Witch’s Oath” in terms of tempo while blowing out the EP’s best riff and hitting on a balance of obscure vocals and bright-toned lead guitar that one can only hope will become a building block for Fowst going forward. “Serpent’s Nest” saunters to its finish and “Chief of Devils” chugs in soon after, not quite on the beat but not far off it. It’s a quick start to a slow march. Like the opener, the closer tops seven minutes and much of the time difference between it and the 4:44 “Serpent’s Nest” could likely be attributed to pacing. Not a complaint.

Fowst peppers in layers of leads amid the central forward rhythm and his downer vocals, taking a particularly engaging solo toward the end of the first half of the track before the guitar rings out in the second’s verses as the starting point of the EP’s last push. The tempo picks up a bit at the end — a change to ping ride is the marker — and cuts out suddenly like they ran out of tape, which of course may or may not be exactly what happened depending on the circumstances of the recording, though it sounds more purposeful than not. Whatever Fowst‘s real name, whoever produced the album, whatever bands he or they’ve worked with before, it’s the songwriting coming through most of all on Witch’s Oath and the sense of stylistic accomplishment that songwriting showcases. It’s early in Mindkult‘s tenure to make a guess as to directions the band might go, but this initial EP makes a compelling argument in favor of finding out.

Preorder at Caligari Records

Mindkult on Thee Facebooks

Mindkult on Instagram

Mindkult on Bandcamp

Caligari Records on Bandcamp

Caligari Records on Thee Facebooks

To those who’d peruse cassettes or who believe the format has something to offer distinct from vinyl, CD or digital, the name Caligari Records shouldn’t be a strange one. The imprint has spent the last couple years committing itself fiercely to tapes and, more specifically, to bringing a level of professionalism to a medium often characterized (and not always incorrectly) as being the most amateurish among the traditional physical formats of the last half-century. Caligari‘s tapes are professionally printed as are the j-card liners — every time. As few have done, the label has adopted the cassette format not as a limitation, but as a means of enhancing aesthetic.

Caligari keeps busy with new releases on the regular — I count three since the most recent of the ones I’ll be writing about here, at least on the label’s Bandcamp — and delves into a variety of styles generally on the darker and more extreme end of the doom or metallic spectrum. Showing a significant variety between them are offerings from Swedish outfits Heavydeath and The Unquiet Grave and Brazil’s Jupiterian, about which more follows:

Heavydeath, Dark Phoenix Rising

Dark Phoenix Rising is the latest in a long string of outings issued in the last year-plus from Ljungskile-based trio Heavydeath. To wit, their Demo I – Post Mortem in Aeternum Tenebrarum arrived in a series of 100 tapes (on Caligari) in April 2014 and their discography is already past this EP with Demo XII – The Storm. Fair enough. Here working as the three-piece of guitarist/vocalist Nicklas Rudolfsson, bassist Johan Bäckman and session drummer Oldfor Suns (the band has since been joined by Daniel Moilanen, also recently added to Katatonia), they lumber and gruel through five tracks of grim-hued sludge, two on side one, three on side two, and while there are flourishes of melody here and there and side two opener “The Ember of the End” finds Rudolfsson basking in some particularly effective epic-metal vocals, the prevailing impression is still of the rawness throughout. Tonally, the guitars set a blackened atmosphere, but Heavydeath aren’t as loyal sonically to any particular substyle as they are to an overarching sense of doom and mournfulness and a general extremity of presentation. To call them death-doom isn’t necessarily wrong, but it hardly tells the whole story. Closing with the title-track, they lock in a formidable riff-led groove and nod boldly at Celtic Frost in the process, but it just so happens that groove is buried six feet deep and covered in moss.

Heavydeath on Thee Facebooks

Dark Phoenix Rising at Caligari Records’ Bandcamp

—

The Unquiet Grave, Cosmic Dawn

Essentially a demo, but billed as an EP, The Unquiet Grave‘s Cosmic Dawn is the first release from the clean-singing raw trad doom solo-project, though its title-track traces its roots back more than a decade. The outfit is comprised of multi-instrumentalist/vocalist Micael Zetterberg, whose CV boasts a wide variety of Norrköping outfits, from the black metal Aggressive Mutilator to thrashier Terrorama, among a slew of others. The Unquiet Grave is unrepentently stripped down across the three included tracks — “Cosmic Dawn,” “Mother’s Trial” and “Whispers in the Dark,” as well as the included intro and outro — but not at all void of ambience. Even as “Mother’s Trial” rolls out a highlight riff in its midsection, the lead guitar layer works to play up a sense of atmosphere. Zetterberg does well in the full-band role, and while Cosmic Dawn has an already-noted rawness to it, particularly with the compression of the tape as opposed to the digital version, that fits with the naturalism at root in the sound, something that seems counterintuitive for a solo-project invariably working in layers — I sincerely doubt Zetterberg is playing bass, guitar and drums at the same time — but across the three tracks here makes an eerie kind of sense. It seems unlikely he’ll get much more expansive with arrangements than he is here, but particularly as a first outing, Cosmic Dawn impresses with its fullness of presentation despite being the work of a solo source.

The Unquiet Grave on Thee Facebooks

Cosmic Dawn at Caligari’s Bandcamp

—

Jupiterian, Aphotic

The 42-minute first full-length from Sao Paolo, Brazil, four-piece Jupiterian, the five-song Aphotic isn’t quite entirely true to its name, but certainly dense and opaque enough in its execution that light has trouble getting through. A deathly lurch takes hold on opener “Permanent Grey” and doesn’t let go, the band trudging through death-doom excruciations and offering precious little hope across the tape’s span, even as “Daylight” seems to hint in that direction with its early guitar melody. Vocalist/guitarist V — the entire band is one-initial only; R on bass, A on guitar, G on drums — has a growl worthy of Swallow the Sun or any number of Scandinavian practitioners, and a raspy scream that’s well at home in the dirge of centerpiece “Proclamation,” which rounds out with some of Aphotic‘s heaviest hitting, followed by a noise barrage to start the subsequent title-track (hard to know where one ends and the other begins on the tape, but the digital version makes it clear). Rounding out in a swirl of guitar and spoken word, “Aphotic” has an almost manic feel compared to some of the album’s other fare, but its ending is also the most brazenly melodic section of the tape, leading to the shorter, closing “Drag Me to My Grave,” which was previously released as a standalone single. The bonus track would be something of a comedown after the title-cut, but it proves a surprisingly catchy finale to this cohesive, engrossingly weighted debut.

Jupiterian on Thee Facebooks

Aphotic on Caligari’s Bandcamp

—

Thanks for reading. For more from Caligari Records, check the links below.

Caligari Records website

Caligari Records store

Caligari Records on Thee Facebooks

Swedish outfit The Unquiet Grave issued their debut release, Cosmic Dawn digitally in June, and Caligari Records has stepped in on the quick to follow that up with a physical pressing. There are 125 tapes made for the three-song offering, and the format seems like a good fit for the Norrköping-based project, reportedly helmed in its entirety by Micael Zetterberg, drummer for black metallers Aggressive Mutilator and former bassist/current drummer of death thrashers Terrorama, as well as the founder of Walking Lizzy Records, which released the 2012 Mesozoikum EP from Skraeckoedlan on vinyl.

A pretty varied background, and one that sets up The Unquiet Grave as an endeavor to be clear-headed in what it wants to accomplish. Information is minimal in terms of what’s given from Caligari or the band’s Bandcamp page — like more and more acts these days, The Unquiet Grave is reacting to the social impulse by playing it tight with the raw data of who’s involved, how, etc. — but Zetterberg keeps a near-retro vibe throughout Cosmic Dawn‘s three cuts, classic-style doom riffing meeting with a more languid impulse that the label seems to relate to folk. I’m not inclined to argue.

It’s a cool vibe either way, so while not much is really out there about the band, or where Zetterberg might ultimately be headed with it as a project, there are the songs, and they’re what matters.

The announcement from Caligari Records came down the PR wire and seemed right in line with The Unquiet Grave‘s minimalist sensibilities. It follows here:

THE UNQUIET GRAVE – Cosmic Dawn – Out Now

Swedish doom rock with a folk influence. An intro, three songs and an outro. All sublime and subtle, craftily made and joyously played. First recording, 2015. Limited to 125 copies. Pro Tapes / Pro Covers.

http://unquietgrave.bandcamp.com/album/cosmic-dawn
https://www.facebook.com/CaligariRecords
https://caligarirecords.bandcamp.com/album/cosmic-dawn
http://caligarirecords.storenvy.com/

The Unquiet Grave, Cosmic Dawn (2015)

Pressed to golden cassette with an eight-panel j-card in an edition of 150 copies by Caligari Records, the eight-track debut long-player from ’70s-styled Copenhagen five-piece Demon Head, titled Ride the Wilderness, seems way more concerned with going back to the source material than taking inspiration from modern practitioners. By which I mean it’s more Pentagram than Witchcraft. That distinction would probably seem minute to some ears, but it makes a difference in the listening experience on Ride the Wilderness — which in addition to the Caligari tape has been released on tape in the EU by Smokedd Productions, on CD via This Charming Man and Wolfbiker Records and on vinyl through This Charming Man —  as it did on Demon Head‘s two 2014 releases, Demo 2014 (review here) and the Demon Head b/w Winterland (review here). Three songs from that demo are repurposed here, one of them being “Demon Head,” and “Winterland” appears on the album as well, so those who’ve caught onto the band’s energetic take on classic-style proto-metal will no doubt find some of the material familiar, catchy as those songs are, but all seem to have been re-recorded, and for what it’s worth, one of the 46-minute offering’s greatest strengths is its front to back flow, which even split into two sides with a pause between side one and two, as on the tape, rests easy on a bed of rolling grooves, ’70s swing, natural tonality and resonant hooks.

“Undertaker,” “Winterland” and “Ride the Wilderness” all appear on side one, with the newcomer “Revelations of April” before the title-track. As it opened the demo, “Undertaker” is no less an introduction here to the point of view conjured by the band — vocalist Marcus Ferreira Larsen, lead/slide guitarist Thor Nielsen, rhythm guitarist/keyboardist Birk Nielsen, bassist Mikkel Fuglsang and drummer Jeppe Wittus — with a proclamation-prone Larsen donning the titular role and informing the listener, “I’ve been waiting for you and I’ve been dying to meet you,” in the first of several landmark hooks the record provides. His presence is considerable as a frontman even on the recording, but he’s well met throughout Ride the Wilderness by the swinging groove of Wittus‘ drumming and the alternating between more uptempo boogie and morose, semi-theatrical doom. Much to their credit, at no point to Demon Head sound like they’re not having a good time, and that only adds to the vital spirit of their delivery. Part of that could be youth, but whatever it is, it makes “Winterland” all the more infectious and pushes the roll of “Revelations of April” outward with a sense of something spontaneous en route to the tempo shifts, righteous delivery of the title line and later layered solos of “Ride the Wilderness” that are on their way to calling Graveyard to mind but seem consistently to be on a darker stylistic trip.

That holds true for side two of the tape as well, which is perhaps less immediate than the bash-you-over-the-head choruses of “Undertaker” or “Winterland,” but ultimately the more satisfying of Ride the Wilderness‘ two halves, with three newer cuts where side one had three older ones. “Book of Changes” leads off, followed by the reappearing “Demon Head,” “The Greatest Lie” and the closer and longest cut at 7:20, “Worthless.” No question “Demon Head” is an anchor for the 24-minute side two, but it’s far from the only highlight, with a shuffle emerging on “Book of Changes” from a kind of drawling progression to build to the inevitable slowdown, Larsen calling out the wickedness of man over a quick wash of noise before a return to the winding central figure, and “The Greatest Lie” being the most impressive accomplishment Demon Head present on their debut, an under-five-minute roll that plays to cult cliché brazenly without it mattering and outdoes even the chorus of “Demon Head” before it — no easy feat — with a two-layer hook that comes coupled with Ride the Wilderness‘ best nod and shifts into quirked-up horror thematics in its last minute-plus before making way for the more spacious, slow-crawling “Worthelss,” which keeps to its lumbering pace until there are about two minutes left, then kicks into higher gear to give Ride the Wilderness the raucous finish it deserves, Nielsen topping off with yet another impressive solo as the track fades out to the eventual click back to side one.

It should say something that no fewer than four labels picked up Ride the Wilderness for a release — if nothing else, they come well endorsed — but the strength of the album isn’t in who’s standing behind the songs so much as in the songs themselves. Demon Head make a formidable opening statement with Ride the Wilderness, and with the development they already show between redone cuts like “Undertaker” and “Ride the Wilderness” and newer ones like “Worthless” and “The Greatest Lie,” it will be even more intriguing to find out where they end up their next time out. Planet earth is not short on ’70s stylization whether it’s from Europe or the States, but when Demon Head tell you to Ride the Wilderness, it’s an easy invitation to accept.

Demon Head, Ride the Wilderness (2015)

Demon Head on Thee Facebooks

Demon Head on Bandcamp

Caligari Records on Thee Facebooks

Caligari Records on Bandcamp

Danish five-piece Demon Head issued one of my favorite short releases last year in their Demo 2014 tape (review here), and then followed that up quickly with a 7″ called Demon Head b/w Winterland (review here) that also showcased much promise, so their debut full-length has been one to look forward to. Titled Ride the Wilderness and repurposing three songs from the demo which also appeared on the single, Demon Head‘s debut has all the languid analog roll one could ask, but brings a youthful energy to the tenets of post-Witchcraft retroism that carries well across the songs, a nascent melodic sensibility in progress amid the organic tones and swinging grooves. It’s an easy one to dig, as the first track made public, “Book of Changes,” attests below.

Announcement of the album’s arrival through no fewer than three labels — This Charming Man on LP, Caligari Records on tape (also a local tape release through Smokedd Productions), and Wolfbiker on CD — follows, dutifully transcribed from the PR wire:

Friends and strangers!

Hear the thunder on the horizon? The time is coming..

It is with great pleasure that we can tell you all that May will see the release of our first full-length album, RIDE THE WILDERNESS.

It will be no less than eight songs of wild rock that we summoned and trapped in a tape machine last year for the untamed and unchained!

Recorded at The Chaos Island and Mastered by Tiger Bartelt of Kadavar, we’re dying for you to hear it..

LP on This Charming Man-Records, CD on Wolfbiker records as well as cassette tapes by Caligari Records overseas and local Smokedd Productions… Lightning strikes!!

DEMON HEAD’s debut album will finally see the light of night in May… We’ve been dying for you all to hear these hard rocking songs and sinister tales from nightmarish corners of our minds!

On a lost road between Heavy Rock highways and the Doom abyss, these eight tunes have been crafted with dedication to the old rock music traditions, for those that are born to be wild. Following the Winterland 7″ (Levitation Records) and a sold-out demo tape, we have recorded RIDE THE WILDERNESS in our own studio, capturing and manipulating this wicked devil child of our on gritty tape machine and haunted sound equipment from days bygone. Inspired by the likes of Black Sabbath, Thin Lizzy and The Doors, this is a soundtrack for days of thunder & lightning.

RELEASE PARTIES
May 20 – Grand, Malmö
May 21 – TBA, Germany
May 22 – Loppen, Copenhagen
May 23 – Hässelholm, Sweden

https://www.facebook.com/Demoncoven/
http://demonhead.bandcamp.com/
http://www.thischarmingmanrecords.com/
http://www.wolfbiker.de/
http://www.caligarirecords.com/

Demon Head, “Book of Changes”

It doesn’t take too long into “Lucifero,” the opening track of Danish doomers The Hyle‘s four-song Demo, to figure out where they’re coming from. Pressed in a limited edition of 150 tapes by Caligari Records — pro-printed thick-stock four-panel j-card, black and clear case, purple cassette with the print directly on it (rather than a label) — the release finds the somewhat mysterious three-piece nestled into the post-Electric Wizard frame of doom, starting out with quiet, spacious, foreboding guitar and opening quickly into a rolling groove topped with a winding smoke-trail of a lead. Echoing clean vocals provide further basis for the comparison throughout “Lucifero” and its side one companion, “Serpent King,” as well as side two’s “Spiritual Sacrifice” and “Children of the Divine,” but if it’s a sonic likeness noted, let that also stand as testament to The Hyle‘s ability to craft a hook, since “Lucifero” likewise serves significant notice in that regard.

They keep lineup information minimal, but Demo was recorded, mixed and mastered by Jens Dandanell and Caligari has seen fit to keep true to its overarching atmosphere with the tape, the inside liner of which is dedicated to a murky, almost black metal-style photo by Rasmus Leo that complements the All is Visual cover of the release itself. The music is similarly cohesive. It may or may not be The Hyle‘s first release, but Demo sounds like the work of a band who knows what they want out of their sound, “Serpent King” branching out further vocally than “Lucifero” and helping distinguish the band from their central point of influence even as they continue to weave a torrent of low end punctuated by classically swinging drums with an otherworldly psychedelic vibe. “Serpent King” fades out long on a guitar solo to close out side one of the tape, a moment’s respite consumed by droning before “Spiritual Sacrifice” and “Children of the Divine” take hold.

A more fervent stomp provides the resounding impression of “Spiritual Sacrifice,” at least initially until the slow unfolding hypnosis takes hold, pushing farther out into darkened psychedelics and an obscure morass of deep tonality. By then, The Hyle‘s nod is locked in, and they do nothing to interrupt it as side two plays out, though they clearly save their nastiest riffing for last. “Children of the Divine” is meaner in tone than its predecessors, if consistent in its overall approach, its abyssal drear and spaciousness marked by a particularly memorable riff and groove-riding vocals, laid back in their delivery, but showing a burgeoning personality that could easily develop over time, layers arriving in a languid call-and-response chorus that coincide with some later guitar harmonics to speak to a stronger sense of arrangement and performance to come as The Hyle move past Demo. As a first release, though, these four songs are confident in their presentation of aesthetic and likewise assured in their craftsmanship. For many listeners, elements will ring familiar, but it’s in the flashes of individuality throughout Demo that The Hyle‘s real potential is unveiled.

The Hyle, Demo (2014)

The Hyle on Thee Facebooks

The Hyle on Bandcamp

Demo at Caligari Records

Caligari Records on Bandcamp

There’s just something about doom on a purple tape that feels right. Comprised of four tracks split up onto two sides, Danish four-piece The Hyle unfurl the wizardly electricity of their debut Demo on tape via respected purveyor Caligari Records. The riffy doomers are a relatively recent advent — they’ll play their first “official” show this month, though I don’t know how many unofficial gigs precede it (the photo above had to be taken somewhere) — but the four cuts bleed well together for nearly a half-hour immersive runtime of languid doom that’s already started to catch attention. Hence the cassette release.

Only 150 copies are being pressed by Caligari, who sent the following down the intestinal windings of the PR wire:

THE HYLE – Demo Out Now On Tape – Danish Doom

The Hyle hail from Denmark and this 4-song demo introduces their sublime doom rock to audiences that are more used to bestial vulgarity, chauvinistic rock and roll, raunchy thrash metal, generic metal ov death and cheesy heavy metal than they are to swift arrangements and expansive guitars, clean vocals elucidating dark and curiously morbid lyrics and paused drumming and subjugated bass playing. Listen to The Hyle and let your perception get the message; their unnerving passivity reveals something insalubrious lurking beneath.

The Hyle is inspired by the occult and esoteric teachings of Robert Fludd, who among others had difficulties defining the term the Hyle. It can’t be described in isolation, because it is in fact, the essence of not being anything: it is infinite non-existence. Therefore The Hyle is not created, for it is the material of which created things spring.

The Hyle receives its main inspiration from the gap between existence and non-existence, and the sound can be seen as a manifestation of something both created, and creating.

4 songs and almost thirty minutes of music, it is all it takes for The Hyle to turn their insides out…

Pro Tapes / Pro JCards

Limited to 150 Copies

This is the 21st release of CALIGARI Records.

https://caligarirecords.bandcamp.com/album/demo
http://caligarirecords.storenvy.com/collections/277955-all-products/products/10967700-the-hyle-demo-cal-021
https://www.facebook.com/CaligariRecords
https://www.facebook.com/thehyleband
http://thehyle.bandcamp.com/

The Hyle, Demo (2014)