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Empress Sign to New Hammerheart Records Imprint Petrichor; Premonition out in October

Posted in Whathaveyou on July 15th, 2020 by JJ Koczan

I do not know who might be behind the new Hammerheart Records imprint Petrichor — which seems not to be followed by any of the usual “Records” or “Recordings” or “Releases” or “Tapes” or whatever that most labels tack onto their names — but they certainly have their mission statement down, and I can’t argue with their choice of a first signing either. The band in question is Vancouver’s Empress, whose forthcoming debut album, Premonition, was recently written up here. That album, which follows 2017’s Reminiscence EP (review here) and a 2018 split with Piece (review here), was originally set to arrive on July 24.

The Petrichor version of the Premonition has been given an October release. However, what that means is that the originally-stated July 24 arrival of the album is off. “Delays?” you ask, flabbergasted. “In 2020?” I know, but at least it’s for a good reason, and hey, kudos for the band getting their record picked up before it even came out. When it happens at all, some acts wait years for that kind of thing.

So anyway, it’ll be October for Empress. I wouldn’t think it unreasonable if they pulled it down, but for now you can still listen to “Lion’s Blood” on the player below.

Petrichor‘s announcement and background info follows:

empress

First signing for Petrichor: Empress!

It is with great pleasure and pride that we announce Empress to be the first official signing for Petrichor. This amazing sludge/post-metal/doom band from Vancouver, Canada will unleash its debut full length album ‘Premonition’ through Petrichor in early October 2020. The album will be released on vinyl/cd and tape as well as digital. Be prepared, pre-orders will be announced in due time.

Petrichor is a new label manufactured, distributed and marketed by Hammerheart Records. Run by passionate individuals who are defined by their will to bring fresh rain on dried out soil/rock (petra) combined into one label that will deliver the blood of the gods (ichor).

Petrichor will release physical formats of all kinds and digital content as well. Run with dedication, experience and always on the hunt for innovative art and quality. Expect our first releases coming this September.

http://www.facebook.com/empressBC
https://instagram.com/empress_bc
http://www.thisisempress.bandcamp.com
www.hammerheartpetrichor.com
www.facebook.com/hammerheartpetrichor
www.instagram.com/hammerheartpetrichor
www.hammerheartpetrichor.bandcamp.com

Empress, Premonition (2020)

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Empress Premiere “Lion’s Blood” from Premonition out July 24

Posted in audiObelisk, Reviews on June 16th, 2020 by JJ Koczan

empress

Vancouver-based trio Empress will release their debut full-length, Premonition, on July 24. The expansive seven-track/49-minute offering is an amalgam of modern influences, drawing from niche microgenres from progressive psych to black metal and running a cohesive line through post-metallic atmospheres and a lurching aggression in their approach. Setting melody against harsh, echoing shouts, the three-piece of guitarist/vocalist Peter Sacco, bassist Brenden Gunn — who passed away in 2019 and to whom the album is dedicated — and drummer Chris Doyle make no attempt to hide their stylistic ambition, pulling together influences from the likes of Amenra, Elder, Isis, The Ocean and latter-day Enslaved in an attempt to make something new from the melding.

Premonition sets its course with the eight-minute opener “A Pale Wanderer” and uses the momentum it builds there to unfurl two shorter tracks in “Sepulchre” and “Passage” before the six-minute “Trost” closes out side A. The progression from one piece to the next is essential to the listening experience of the side and the record as a whole, as each cut gracefully complements and expands on the one before it, whether it’s the heavy post-rock air-squibblies and subsequent gallop in the guitar of “A Pale Wanderer” feeding into the immediate angularity that begins “Sepulchre,” or “Passage” building a winding linear movement of riffs edged with psychedelic intent even as they payoff with more aggressive churning — Empress Premonitiona perfect lead-in for the semi-blackened rush at the start of “Trost,” which holds its melodic statement for the finish in a slower-rolling unfurl that gives way to a silence that feels well earned.

Of course, that’s only half the story, and Premonition takes a noticeable turn for the immersive with “Hiraeth,” the first of the three inclusions on its second half. “Hiraeth” (8:03), “Premonition” (7:05) and “Lion’s Blood” (9:39) seem in form to call back to the outset of the album, but that only makes the journey being undertaken seem all the more purposeful. Like the songs preceding, they are progressive in form and thoughtful in composition, but naturally their increased runtime lends a more patient feel, and that proves especially true in the longest of them, which is the finale. Building up from a quiet line of standalone guitar, “Lion’s Blood” reaches two successive crescendos, the first melodic, the second angrier, and in that, the ending of the record answers back to the preceding title-track’s summary of Empress‘ songcraft with a step forward toward individualism, still based around the root influences noted above, but succeeding in its goal of internalizing and adding to them.

It’s a first step, but a brazen one, even unto its title, which would seem to be telling listeners that Premonition is just the beginning of a longer stylistic evolution on the part of Empress. If that’s the case and that’s the challenge the band are setting for themselves, bring it on. While not a minor undertaking at nearly 50 minutes long, Premonition isn’t trying to be humble, it’s trying to be consuming, and it is that. I don’t know how losing Gunn will ultimately affect this mission, but with this first long-player, the band show a marked potential that not only makes a fitting tribute to what might’ve been for the trio as they wore, but still holds promise for the band Empress might become. Whatever their future brings, the obvious consciousness they bring to their songwriting here will only continue to serve them well as they move forward.

And it’s heavy, too.

Happy to host the premiere of “Lion’s Blood” on the player below, all the more so since it serves as the culmination of Premonition and the inevitable step from which Empress will launch whatever may come next.

More background from the PR wire follows.

Please enjoy:

On July 24th, Canada’s EMPRESS will self-release their highly anticipated debut album, Premonition.

Preorder here: http://thisisempress.bandcamp.com

EMPRESS are a three-headed beast from Vancouver, B.C., born after guitarist/vocalist Peter Sacco (Seer) and drummer Chris Doyle attended a show headlined by doom mavens Elder. Inspired by the massive wall of sound and psychedelia they encountered on that fateful night, the pair enlisted bassist Brenden Gunn (Craters) and set out to create their own brand of stoner/sludge metal.

Above all, EMPRESS is not a vehicle for entertainment or flashy showmanship. Rather, it is an emotionally driven, abstract band, and meant to serve as an artistic experience which has a culmination of life experiences, doubts, and growth from what life has brought each member.

EMPRESS boldly and (daresay) beautifully display that across their long-awaited debut album, Premonition. As befitting a first full-length, Premonition took years to write, and was made with excitement and, most especially, a newfound purpose and meaning for driving the songwriting. Once again laying it all on the line, arguably more so than ever, the album’s lyrics are about the mental health of Sacco, his family members, and the experiences he has had with them – the traumas he deals with as payment for being there for someone mentally ill, and accepting loved ones, strangers, and anyone else with mental health issues. But, Sacco stresses, “No one should be pushing people that come forward with their mental health issues and leave them secluded with those issues.”

Comprising seven shape-shifting songs in an all-enveloping 49 minutes, Premonition is the unleashing of emotions from trauma. It is an outlet for each member of the band to deal with whatever it is they need to deal with. Each person writes their parts with whatever intention they would like. That culmination led to the most accomplished album any of them have written, and they are grateful for the support of their loved ones, friends, and strangers who listen to their music and feel that connection EMPRESS want to have come across.

The album is in loving memory of Brenden Gunn, who passed away Oct 31st, 2019. Artwork by Orion Landau and Robin Harris.

Empress on Thee Facebooks

Empress on Instagram

Empress on Bandcamp

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Interview: Wino Talks About Signing to Volcom, Going Acoustic, Savoy Brown, Pentagram, Spirit Caravan, New Shrinebuilder, Saint Vitus and Much More

Posted in Features on February 3rd, 2011 by JJ Koczan

He might be the single most pivotal figure in American doom. Scott “Wino” Weinrich, in a career that’s lasted more than 30 years and is only showing signs of speeding up, has assembled the greatest pedigree in heavy music that doesn’t belong to someone with the last name Iommi. From his years in outfits The Obsessed and Saint Vitus to his ongoing involvement with the supergroup Shrinebuilder, Wino has left a stamp on the genre that — try as many might — simply cannot be duplicated.

And yet, it’s not his legacy that he wants to talk about. In our interview last week, there was some discussion of the “old days,” of course, but it was more about the work of others with whom he’s played, or been friends with — and what was coming next — that really seemed to be what was driving him most. The love of the music. What the hell other reason could there be? There’s no glamor in it. Who the hell cares if a bunch of bearded dudes say, “Cool riffs, bro?” If you don’t love Heavy, you go do something else. You certainly don’t make it your life’s work.

Next month, Volcom Entertainment will release the LP version of Wino‘s first solo acoustic album, Adrift (review here; CD available on Exile on Mainstream), and if you’re unfamiliar with the man’s doings in any of the above bands, or Shine/Spirit Caravan, The Hidden Hand, Dave Grohl‘s Probot, Victor Griffin‘s Place of Skulls or his innumerable guest spots and contributions to others, let it say something that after 30 years, he’s still pushing himself into new territories.

There was a lot to talk about and limited time, but in the Q&A below, Wino discusses the experience of writing and recording Adrift following the death of bassist Jon Blank of the Wino band (also featuring drummer Jean-Paul Gaster of Clutch), the origins of his new, two-guitar outfit, Premonition, where some of the drive to keep starting over comes from, his deep and abiding respect for his fellow players, the status of the Spirit Caravan reunion that bassist Dave Sherman alluded to some while back on this site, and much more.

It was a very conversational interview, as you can see for yourself after the jump. Please enjoy.

Read more »

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Here’s More Video of Wino’s Premonition, Because I Can

Posted in Bootleg Theater on September 21st, 2010 by JJ Koczan

If you need an explanation or a reason to enjoy the below clip of Wino‘s new band, Premonition (also featuring Brian Daniloski of Meatjack), then congratulations, you’ve missed the point. This is from the same Copenhagen show as last time. Dig it:

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Wino Has a New Band (Video Available)

Posted in Bootleg Theater, Whathaveyou on September 15th, 2010 by JJ Koczan

Hey, why didn’t anyone tell me Wino had a new band? You mean I could have spent the last two months salivating over his new Premonition project with Brian Daniloski from Meatjack that I’ve now missed out on? Well shoot. I am depressed.

Here’s video evidence of Premonition playing live in Copenhagen — stupid Copenhagen gets everything — followed by some info I pilfered off the Roadburn website about the concept of the band:

Premonition is a new jam project featuring doom legend Scott “Wino” Weinrich (Saint Vitus, The Hidden Hand, The Obsessed, Shrinebuilder) on guitar, his friend Sparky on guitar, Brian Daniloski (Darsombra, Meatjack) on bass and Matthew Clark (Ostinato, CSC Funk Band) on drums. The band is a well-kept secret: there are no recordings, no website, no pictures and there are no pre-produced songs. Everything the band does is improvised on the spot and will never be repeated again.

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