Here are 40+ New Releases to Look for in the Next Three Weeks

Posted in Features on September 21st, 2017 by JJ Koczan

Starting tomorrow, the next three weeks are absolutely stupid with new albums. Over-the-top, ridiculous. An immediately-go-broke amount of music. Nothing less than an onslaught. We’re under attack.

Far be it from me to tell you how to spend your money — also far be it from me not to — but there’s some really killer stuff in here. As to why it’s all landing now? Some of it of course has to do with the timing of when it was recorded, bands hitting the studio in Spring before heading out on the road over the summer, but Fall releases also line up nicely for tours in October and November, heading into the holiday season, when the music industry basically shuts down. This is the last chance for releases to come out in 2017 and be considered for best-of-year lists.

I doubt the likes of Chelsea Wolfe or Godspeed You! Black Emperor or even Kadavar would cop to that as a motivating factor, instead pointing to the timing of Fall touring and so on, but these things are rarely coincidental. You know how there aren’t any blockbusters in January but every movie feels like it’s trying to win an Oscar? Same kind of deal.

Nonetheless, 2017 is laying it on particularly thick these next couple weeks, and as you can see in the lists below, if you’ve got cash to spend, you can pretty much choose your rock and roll adventure. I’ll add to this as need be as well, so keep an eye for changes:

Sept. 22:

Alcest, Souveinirs d’un Autre Monde (10th Anniversary Edition)
Brant Bjork, Europe ’16
Chelsea Wolfe, Hiss Spunthe-flying-eyes-burning-of-the-season
Epitaph, Claws
Faces of the Bog, Ego Death
The Flying Eyes, Burning of the Season
Fvzz Popvli, Fvzz Dei
Godspeed You! Black Emperor, Luciferian Towers
Jarboe & Father Murphy, Jarboe & Father Murphy
Monarch, Never Forever
Nibiru, Qaal Babalon
Process of Guilt, Black Earth
Satyricon, Deep Calleth Upon Deep
Spelljammer, Inches from the Sun (Reissue)
Thonian Horde, Inconnu
Trash Titan, Welcome to the Banana Party
Ufomammut, 8
With the Dead, Love from With the Dead
Wolves in the Throne Room, Thrice Woven

Sept. 29:

monolord rust
Cities of Mars, Temporal Rifts
Deadsmoke, Mountain Legacy
A Devil’s Din, One Hallucination Under God
Jim Healey, Just a Minute More (Sept. 26)
Idylls, The Barn
Kadavar, Rough Times
Lucifer’s Chalice, The Pact
Monolord, Rust
Radio Moscow, New Beginnings
Scream of the Butterfly, Ignition
Tronald, Tronald (Sept. 30)
Unsane, Sterilize
Wucan, Reap the Storm

Oct. 6:

fireball-ministry-remember-the-storyElder Druid, Carmina Satanae
Fireball Ministry, Remember the Story
Himmellegeme, Myth of Earth
House of Broken Promises, Twisted EP
O.R.B., Naturality
Primitive Man, Caustic
Spirit Adrift, Curse of Conception
Spotlights, Seismic
Sumokem, The Guardian of Yosemite
Torso, Limbs
White Manna, Bleeding Eyes

Also:

Oct. 13: Enslaved, Firebreather, I Klatus, R.I.P., Uncle Acid and the Deadbeats (reissue), Weird Owl, etc.

Oct. 20: Iron Monkey, Spectral Haze, Bell Witch, The Spacelords, etc.

Something I forgot?

Invariably, right? If you know of something not seen above that should be, then by all means, please leave a comment letting me know. My only ask is that you keep it civil and not call me a fucking idiot or anything like that. I write these posts very early in the day, and if something has been neglected, I assure you it’s not on purpose and I’m happy to correct any and all oversights.

Thanks for reading and happy shopping. Support local record stores.

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Review & Track Premiere: I Klatus, Nagual Sun

Posted in audiObelisk, Reviews on September 11th, 2017 by JJ Koczan

i-klatus-nagual-sun

[Click play above to stream the premiere of ‘The Alivist’ from I Klatus’ new album, Nagual Sun, out Oct. 13.]

There are any number of stylistic impressions one might get throughout the 57 minutes of Nagual Sun, the fourth long-player from Chicago’s I Klatus (also written as I, Klatus). Most of them are thoroughly fucked. It is a potent brew of atmospheric sludge extremity the four-piece bring to their material for their first outing since 2013’s Kether (discussed here), and while one might hear shades of YOB or Zoroaster in opener “Beneath the Waves” or the later lumbering of “Jaws of the Shark,” there are deathly undertones through which I Klatus distinguish themselves and turn any colorful psychedelia into shades of brown and gray, their wash of noise by texturist Robert Bauwens part more of an assault than a landscape, despite being hypnotic in its own, bleak manner.

Led by guitarist/vocalist Tom Denney — also a noted illustrator/graphic designer — I Klatus dealt their last time out with the suicide of former bassist Tariq Ali, but here with drummer Chris Wozniak (also Lair of the Minotaur and Earthen Grave, among others) and bassist/clean-vocalist/producer John E. Bomher, Jr. (Yakuza), they might as well be mourning the passing of society as a whole with their postmodern screwall that pervades tracks like the blackened-leaning-but-still-early-Crowbar-catchy “Sorcerer’s Gaze” (video posted here) or the terrifyingly rolling “The Alivist,” which is the longest inclusion at 9:43 and plunges to depths all its own while also leaving space for stoner churn and post-High on Fire gallop. Though based in the Windy City, their sound has roots aesthetically in the same strikingly Midwestern, pill-popping Rust Belt disaffection that gave the world the likes of Fistula, Ultralord, Morbid Wizard and Sollubi, but none of those acts seem to be chasing or conjuring the same kinds of demons as I Klatus are and do on Nagual Sun, and so while aspects may be familiar, the ultimate downward course of the album belongs to Denney and company alone.

And make no mistake, they own it. From the feedback coating in which the launch of “Beneath the Waves” arrives to the deceptively intricate layering in the vocals and the vaguest touch of melody — which is, it’s worth noting outright, no less out of place here — that pervades closer “Final Communion,” I Klatus establish themselves as a litmus for how far sludge can be pushed in substance before it simply oozes down into its component pieces. To wit, even as Nagual Sun seems to revel in defeat after defeat, there’s something defiant about a song like “Moment of Devastation,” which explodes in death metal growls over spacious cosmic doom and shifts with surprising ease back and forth between that and almost minimalist stretches of nonetheless-tense drift. With its robot-effects clean vocals, blasts and so on, “Beneath the Waves” sets up a pretty broad context for the rest of the album to take place within, so as I Klatus bring what seems like experimental fruit to bear in “Serpent Cults,” “Sorcerer’s Gaze” and “Moment of Devastation,” they’ve allowed themselves the room to explore as they will.

i klatus

Part of that is a palpable sense of not giving a shit about sticking to genre, from which the songs also benefit, but while Nagual Sun willfully borders on unmanageably long, there are enough shifts throughout to hold the listener’s attention or at very least give them enough of a consciousness-pummeling to render them immobile for the duration. But it is a slog, and clearly intended to be one as “The Alivist,” “Jaws of the Shark” and “Final Communion” — even with the two-minute “Father John Thomas (The Penitent)” set as a penultimate interlude — all top eight minutes long and give a sense that as it plods through, the drudgery of I Klatus‘ work only becomes more infused with the stench of death. This is, again, how the record casts its accomplishment. The feeling of something rotting in the midsection of “Sorcerer’s Gaze” or the sudden rise of swirling wah in “The Alivist” circa the five-minute mark — these are purposefully arranged elements used to convey an atmosphere. There’s nothing haphazard about Nagual Sun; nothing that isn’t where and what the band wants it to be.

So even as its vibe is down almost in the exclusive, Nagual Sun succeeds by building the world in which “Jaws of the Shark” and “Final Communion” take place. It is about the realization of these grim, rueful ideas, rather than about offering their audience a lifeline. That’s not to say I Klatus don’t cast a broad set in terms of sound, but as Celtic Frost once did to thrash metal and as acts like Ramesses did to doom, they seem to push into terrain that’s just that extra bit filthy, just that extra bit darker, more extreme in its perspective. The plunder in “Jaws of the Shark?” Terrifying. The noise that coats the apex of “Final Communion?” It absconds into the far-out until it seems to finally pull itself apart and end the record more or less through dissipation — as fitting a last turn as one could ask for a release the intensity of which has been so obliterating, even in its quietest, most brooding stretches.

Each track on Nagual Sun adds something to the whole of the album’s impression, and while I Klatus set those who would engage with their work up for a grueling journey, there’s little question their fourth LP is meant to be taken in its entirety. Because of the growling, the bitter severity in some of its tones and the sheer force in its rawness, it will be too much for some, and that’s fine. Music like this isn’t meant to be universal. Rather, it’s a personal expression of time, place and thought, and I Klatus carve out a nuanced space for themselves amid the bludgeoning and the drear that ensues, making their doom not necessarily miserable in the emotion it conveys à la European-style drama-staging (or, if we want to keep it to Chicago, the also-deathly Novembers Doom), but a tangible result of that downtroddenness itself. Like Marcel Duchamp’s urinal a century ago, Nagual Sun challenges our conceptions of form and structure, asks what is and what can be art in a world so empty, and offers its answers in the fact of its existence as the result of a creative process and the brutality taking place within its scope.

I Klatus, “Sorcerer’s Gaze” official video

I Klatus on Bandcamp

I Klatus on Thee Facebooks

I Klatus on Twitter

I Klatus on Instagram

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I Klatus Post “Sorcerer’s Gaze” Video; Nagual Sun out Oct. 13

Posted in Whathaveyou on August 28th, 2017 by JJ Koczan

I think maybe more than ever it might be fair to think of Chicago’s I Klatus as a North American answer to the dug-in sludge cultism of UK outfits Ramesses and/or 11Paranoias. From the extremity they show on their new album, Nagual Sun, in the blackened genre-spanning reaches of “Sorcerer’s Gaze,” for which you can see a new video below, to the dirt-caked early-Crowbarism of a song like “Serpent Cults,” I Klatus seem to have found a similar wavelength to the UK troupe. Neither band pokes their head up all that often — I Klatus‘ last outing was 2013’s Kether (discussed here) — but you can rest assured that when they do, there’s some seriously disaffected, post-industrial-collapse doom about to play out that, apart perhaps from itself, shares its sonic space with just about nobody.

My hope is to have more on this one before Oct. 13 gets here, but we’ll see how that goes. Either way, keep an eye out for it if you’re looking for a litmus test for how much punishment you can take:

i klatus nagual sun

Chicago Doom/Sludge Eclectics I KLATUS to Release ‘Nagual Sun’ on October 13

Chicago Doom/Sludge eclectics I KLATUS will release Nagual Sun October 13 on digital and analog (cassette) formats. The highly anticipated follow-up to 2012’s Kether is the band’s third full-length album (and fifth release overall). An official video for album track “Sorcerer’s Gaze” is available at this location.

The overall sound of Nagual Sun maintains the gritty roots for which I KLATUS is known, while at the same time launches the group into new and more fully fleshed-out dimensions of weirdness. Tom Denney is the primary soothsayer behind I KLATUS. Denney, whose background is steeped in the visual arts, has provided artwork and monsters for a laundry list of signed metal acts in the community (KYLESA, BLACK COBRA, SAMOTHRACE, CANNIBAL CORPSE, CEPHALIC CARNAGE and RWAKE just to name a few). His guitar squalls hard against the shores of this stoner metal effort, but also manages to rise above the storm in melodic hymns. Denney trades growling vocals with bass player, John E. Bomher, Jr. (BURY THE MACHINES, YAKUZA), who keeps things grinding nicely, while also providing some sweeter tones when they let songs open up and sweep across more ethereal planes.

Bomher doubles as the band’s producer with his extensive experience in the studio; his work on the album sets this release head and shoulders above their previous efforts in terms of production quality. The drums are championed by Chris Wozniak (LAIR OF THE MINOTAUR, EARTHEN GRAVE, SERPENT CROWN) who metes out doom in guttural timing. Wozniak just pounds and pounds, hitting that sonic-pocket, which gives the stoner/doom genre its feeling of lift and expansiveness. Some noises and textures by former member, Robert Bauwens, are also tucked into the nooks and crannies of these tracks. Last by not least, special thanks goes to author Ryan Sean O’Reilly for his contributions to the press release.

Track Listing:

Side A
Beneath the Waves
Serpent Cults
Sorcerer’s Gaze
Moment of Devastation

Side B
The Alivist
Jaws of the Shark
Father John Thomas (The Penitent)
Final Communion

https://iklatus.bandcamp.com/releases
www.facebook.com/iklatus
www.twitter.com/i_klatus
www.instagram.com/iklatus

I Klatus, “Sorcerer’s Gaze” official video

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audiObelisk: I Klatus, Kether, Full Stream and Track-by-Track

Posted in audiObelisk on May 13th, 2013 by JJ Koczan

Nestled deep within the obscure tones and periodically vicious churn of I KlatusKether is a sense of questioning and resistance that the Chicago trio have mirrored in the themes at work in the songs. Across the 56-minute expanse of Kether, drummer Chris Wozniac, guitarist/vocalist Tom Denney and bassist/vocalist John E. Bomher elicit a bleak, genreless swirl crushing in its heft but fluidly moving within psychedelic headspaces, like a lava lamp in black and white.

Songs like “Portals (Under the Lake)” and opener “John of the Network” offer alternately jagged and melodic glimpses at a worldview determined in its position against, so that even in their harshest aural stretches, I Klatus never lose the sense of meditative focus that unites the widely varied material on Kether, no easy task in charting a route from the tribalisms of “Tree of the Sephirot” to the oozing lurch that starts “By the Coercion of Marduk,” which itself reads like a history lesson on Chicago’s heavy underground, from deathly influences crossover push to post-metal plod.

The band released Kether on vinyl last year and gave it a wider digital issue in late March, so it’s entirely possible you’ve run into the record in another context, but streaming it in full, here we see Wozniac, Denney and Bomher offer their own perspective on the movement from beginning to end in a complete track-by-track breakdown. I think you’ll find that as Kether and the three-piece’s explanations progress, both find suitable culmination in “Dark Commitment to the Ceaseless NON.” Please enjoy:

“John of the Network”

John E. Bomher: The evolution of this song took shape at a time when a personal tragedy struck in the form of the ironic and gruesome death of a family member. A relative of mine who had worked in a power plant for years and years and was essentially the person who would layout power line architecture from the power plant to your home appliances tragically passed in a car wreck/electrocution.

He was driving along an icy road on a wintry Michigan night when his van hit a patch of black ice, turned on its side and smashed into an electrical pole alongside the road, disconnecting the power lines. Unscathed, he kicked out the back window of the van and began to trudge through the snow up the road towards a nearby house. Unbeknownst to him, the live power line was actively flailing around in his general vicinity and it reached out across the road and grabbed him on the arm, instantly taking his life.

The irony of this tragic event was that he had spent so much of his time and energy propagating electrical energy that it eventually took his life in such a strange and fantastic spectacle.

The concept behind the song began there and throughout its arrangement you can hear subtle sounds of what might be the background noise of an active power plant until the big climax part in the middle which symbolizes the car wreck and escape from the vehicle. The buzzing sound in the background emulating what the sound of the electrical wire flailing about might sound like.

The power grid/network desperately searching for and eventually finding its creator, being positively charged towards him and wanting so badly to merge their essences.

At the moment of his impact with the downed power line, I imagined his life force, his soul being sucked into the power grid to live on forever within its matrix… Looking out at us from all the television screens, microwave ovens and other common household appliances… a new sort of “becoming.”

Sometimes, now, when technology refuses to accommodate or cooperate with us… I imagine John, hiding just below the surface of some piece of technology… pushing buttons and pulling wires and laughing at us – a master to us, the slaves to his network…

“Flailtank”

Chris Wozniac: A mine flail is a vehicle-mounted device that makes a safe path through a minefield by deliberately detonating landmines in front of the vehicle that carries it.

John: This bizarre song formed around a literal soundcheck of drum tones.

I took Woz‘s attention-deficit approach to drumming and composed bass, guitar and vocal parts around it and imagined what it might be like to have a battalion of flailtanks ravage through my neighborhood… I heard an interview from a flailtank driver in World War II and he said that the German soldiers would almost always surrender immediately after they would clear a minefield with a flailtank. If you can imagine a line of tanks approaching across a nearby field, clearing the mines out of its way with these huge apparatus spinning around ahead of them with the explosions and the dust flying everywhere, it must’ve been terrifying.

Tom Denney: Imagine how this weapon would be deployed upon a group of Anonymous protestors waving picket signs against capitalist-agenda-driven banks, flailtanks mowing down women, men and children as they straddle the horizon, driven by madmen obeying the “law” poised to mow your life away.

“Chemtrails”

Tom: It’s about chemtrails. Inspired by looking up to see grids in the sky where no previous flight patterns were observed. This seems to happen time to time right before massive rainstorms. Reported all over the country, these seemingly intentional spray patterns delivered by unmarked airplanes leave either cloud-seeding debris or massive amounts of barium, pathogens and asbestos in the sky. What are these chemtrails? What are they for and who is creating them?

“Antediluvian Knowledge”

Tom: Literally means “Before the Flood” recognizing the multiple cultural histories which point to a massive and ancient flood which wiped out a previous Earth culture, more advanced spiritually than our own. The different changes in the song represent the rising of tides and the crumbling of a magical prehistoric society. A lot of the lyrics came from a particular dream, where the band was unearthing musical instruments and statues from deep under ink-black waters. The concept of trying to remember this ancient knowledge, perhaps buried deep within cellular and cultural memory to bring that message into the present and unearth the secrets of our ancestors and forefathers. The idea that we are not the height of technological evolution on this planet and that we as a culture are simply rediscovering an esoteric wisdom which was lost to the ocean’s depths and vibrationally, spiritually and musically, we are responsible for assisting in its reemergence.

Woz: We recorded many songs with Tariq [Ali, former bassist who committed suicide in 2009] on the album, but we actually wrote this song with him during and around our tour in December 2008.

“Model Prisoner Interlude”

John: This one is a dark number envisioning a gross and exaggerated police state, wherein society’s freethinkers and rule-breakers might find themselves rounded up and imprisoned in various regional, government-run reform camps. How easy it could be to herd all the fearful and brainwashed masses into camps like this during some staged attack on America in which martial law might come into effect. Prison camps are not a farfetched concept considering our recent spectacles on the world stage.

“Model Prisoner Revolt”

Tom: It’s about summoning the strength to rise above the walls of the slave state (prison for your mind) and claim sovereignty as an individuated fragment of the consciousness of God the Absolute, while refusing to kneel before an oppressive authoritarian construct; We fight for the freedom to live without silencing the next generation and beyond.

“Portals (Under the Lake)”

Tom: About the city we came from, Chicago, IL. There is something different about the energy of that city, one that has one of the highest murder rates in the nation. There is a blanket of fear and oppressive energy which seems to veil the city at all times, choking it off from positive growth. Off the coast of Lake Michigan, there is an intersection of several Earth energy lines or “Leigh Lines” which create a vortex which sucks energy from the nearby city. This is why there are so many millions of weary, downtrodden people in Chicago (that and the brutal winter). This song is all about psychic attack and energy vampirism. In a place where the very life force is drawn out of the surrounding area, the people are left in a state of despair in which they feed off of one another emotionally, psychologically and physically. The tones at the beginning represent the subtle mind control beacons which exist throughout the city, disguised as cell phone towers and electrical lines. These emit nearly undetectable subharmonics which agitate and disrupt the human body’s natural ability to interact with reality, leaving its citizens distraught, destitute and without hope for any future other than the drab horizonless void that is the urban epicenter of soul dissolution. There may well be a real plot to subvert the peoples of this great metropolis, to keep them down and devoid of the possibilities of evolution. All of the soul growth literally gets sucked into the portal under the lake.

“Pillar of Boaz”

Woz: Boaz and Jachin were two copper, brass or bronze pillars which stood in the porch of Solomon’s Temple, the first Temple in Jerusalem. You can see this referenced in ancient and modern architecture all over the world. We recorded this in L.A., at this killer studio with James Doser while we were all in town for Tom’s 30th birthday in 2009. It all started with a noise loop that John created to a click, and we all just started laying down tracks. Leon Del Muerte contributed some badass, driveway shoveling vocals on this one.

Tom: The Pillar is an esoteric journey through the Tarot. On the path to the light, or on the way to awakening, we meet the Air. This is the dragon, or the devil of indulgence in earthly distraction. This is the story of that confrontation and the inevitable absorption of the shadow within the pillar of truth which upholds the understanding that deep inside you this urge for soul freedom rings true in a way which we all can feel. The roots of oppression of our forefathers seem to bind no more as the Entrancer of the Martian war-mind dissolves to the will of the true temperance, that of unity-mind. This is that moment, where you come through the tempest, in your deepest DMT trip to that place of serenity, the OM state where strife no longer matters and the struggle comes to its most dramatic culmination. The stillness and the calmness overwhelms, unites and heals the weary traveler on the path toward the omega.

“Tree of the Sephirot”

John: The Tree is composed of symbols which represent the cosmos and its multitude of parts but also the prototypic Adam. Akin to DaVinci’s The Divine Man, it is a metaphysical representation of the universe and its vast degrees of separation and togetherness. In this band and in life, it seems that the artists I like to surround myself with are willing to explore the depths and distances of polarity. Darkness and Light are really just different from each other by degrees and through meditation and positive focus I believe that you can change vibrations in one direction or the other… down toward the darkness or up toward the light, toward kether… the crown chakra or the pineal gland… again this is a prototype, a symbol which I am speaking of and we are evoking positive upward motion forward through the cosmos with the tribal, entrancing breath work of this piece.

“By the Coercion of Marduk”

John: This is a reference to Planet X… an invisible planet or asteroid which may or may not someday effect or destroy planet earth.

A doomsday fantasy.

“Karma and Forgiveness”

John: Two notions we are constantly in reconciliation with. The give and take of the universe and the struggle with oneself to let go of past wrongs and make a conscious effort to take action to perpetuate good karma and positive forward progress in the lives of those around you. The idea that you must give it away to get it back is very prevalent in this theme.

“Dark Commitment to the Ceaseless NON”

Tom: This is about Quantum Physics and the hidden priesthood in place which understands its principles and harnesses it as a tool to control reality and keep the human race in a state of constant subversion. Here we find the Keys to step over Pyramids, the pyramid being a symbol employed by this secret priesthood. In the song, the lyrics talk about a desire to impregnate the universe with a burning, boiling planet. This is the metaphor for the thalamic will being imposed on a fertile universe. The inspiration, the rising idea within humanity giving birth to the creation of material progressions.

John: Around the time that we created this song a friend told me in a tarot reading that I would be “married to the darkness” for another decade of my life… and according to the sagely wisdom and guidance of the stars and the constant growth opportunities that the universe has provided for me, through meditation and surrender my life has vibrated more and more and more out of the darkness of depression, despair and loss and into a vast and limitless manifest destiny… I have always been a huge fan of a massive crescendo up and up and up… I like to think of life in that same way… we vibrate in this way and that, ever upward back toward our source, somewhere out there in the cosmos…

I Klatus’ website

Tom Denney’s website

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I Klatus to Release ‘Kether’ Digitally this Month

Posted in Whathaveyou on March 27th, 2013 by JJ Koczan

Chicagoan trio I Klatus previously self-released their third full-length, Kether, on vinyl and are following that up this month with a wider, promoted digital release. As you can hear in the video below, it’s some disgustingly heavy stuff, and you might recognize guitarist/vocalist Tom Denney from his disturbing album art for Kylesa, Sourvein, Cephalic Carnage and many, many more. Whether or not you do isn’t really the issue at hand, I suppose, but even though the record’s been available for a few months, it’s an excuse for me to post another 10 minutes of spaced-out doom, so fuck it. You know?

Maybe, maybe not:

I KLATUS: Behold The Second LP By Chicago Sludge/Doom Hybridizing Collective

Rooted in the sprawling Chicago underground metal scene with ties to multiple internationally-notable musical and artistic forms of media, a massive composition five years in the making has finally arrived. Behold Kether, the second LP by sludge/doom hybridizing collective I KLATUS.

With the dark spirit of Chicago in mind and the mysteries of the Cosmos at heart, the all-consuming devastation achieved on Kether takes the pummeling morphing of sludge/grime/doom the I KLATUS clan has previously attained to even more warped and exploratory realms through nearly an hour of continually-engaging material in the progressive tradition of Spaceboy, Gasp, Ufomammut, Rwake, Noothgrush and YOB. The band self-describes the material as “beyondcore, sludge, and shamanistic method doom.”

I KLATUS self-released the mammoth Kether in an extremely limited 2xLP version at the end of 2012, but now takes the album to an entirely broader audience with an official digital release of the album this month. The album lies in the wake of the tragic passing of I KLATUS’ bassist Tariq Ali and features the artist’s last recordings. The three surviving members of the collective — drummer Chris Wozniak (Lair of the Minotaur, Earthen Grave), bassist John Bomher (Yakuza, Indian) and guitarist/vocalist/visual artist Tom Denney (known for art created for Soilent Green, Kylesa, Saint Vitus, Black Cobra, Rwake, Samothrace among countless others) — have dedicated the album to Tariq’s memory and pay thanks to his family members, stating that he was “a good dude on the scene here in Chicago, and was part of the best lineup of the many this band has seen.” Kether also features guest contributions from Leon Del Muerte (Intronaut, Murder Construct) and Bruce Lamnot (Yakuza, Bloodiest), among others.

Kether Track Listing:
1. John of the Network
2. Flailtank
3. Chemtrails
4. Antediluvian Knowledge
5. Model Prisoner Interlude
6. Model Prisoner Revolt
7. Portals (Under the Lake)
8. Pillar of Boaz
9. Tree of the Sephirot
10. By the Coercion of Marduk
11. Karma and Forgiveness
12. Dark Commitment to the Ceaseless NON

I Klatus, “Portals under the Lake”

http://www.iklatus.com
http://www.tomdenney.com

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