Graves at Sea Finish Work on Debut Album; West Coast Tour Starts this Weekend

Posted in Whathaveyou on October 8th, 2015 by H.P. Taskmaster

graves at sea

Based now in Portland, reunited sludge-doomers Graves at Sea will hit the road this weekend on the West Coast as they make their way to the Southwest Terror Fest in Tucson, Arizona. Some 12 years after their Documents of Grief demo became a significant statement of intent that was ultimately cut short, the band has just put the finishing touches on their debut album, which will be released on Relapse Records early next year. Pretty astonishing journey this band — and granted they’ve been through a few lineup changes along the way — has had to get to their first record, but hey, it’s doom. If you want it to be fast, you’re doing it wrong.

The PR wire has details and dates. I don’t know about you, but I’m looking forward to seeing what Orion Landau comes up with for this one:

graves at sea oct 11

GRAVES AT SEA: Complete New Album; Announce October West Coast Tour Dates

Doom/sludge quartet GRAVES AT SEA has completed recording its first-full length ever! The new material, which was tracked at Audible Alchemy in Portland, OR and mixed at Earhammer Studios in Oakland, CA, will see an early 2016 release via Relapse. The album was engineered by Greg Wilkinson (Atriach, Lycus, etc) and mastered by Brad Boatright (Obituary, Sleep, Yob, etc), and will also feature artwork by Orion Landau. Album title and preorder information will be made available soon.

Though they have gained a near-cultish following in the underground in relatively little time, GRAVES AT SEA’s success is even more noteworthy when one considers the fact that the band has managed to do so without ever releasing a proper full-length album. Formed in 2002, the band soon self-released the demo Documents of Grief (2003), which quickly became one of the most talked about underground demos of the decade. After recording their debut 7″ and a split with Asunder in 2004 and 2005 respectively, the band went on hiatus, before reuniting in 2012 and signing to Relapse Records in 2015.

Now thirteen years since their formation, GRAVES AT SEA have become stronger than ever, focusing their efforts on touring and recording new material. 2014 saw the group release their first new material in over nine years, including a split with Sourvein and a separate two song EP. GRAVES AT SEA are poised to fully come into their own with the release of their first-ever full-length, which seems certain to bestow the level of success the band has achieved underground to more mainstream audiences. You can stream the band’s 2014 split with Sourvein via Soundcloud HERE.

In celebration of the finished recording, GRAVES AT SEA have also announced a week of tour dates beginning the second week of October. The tour will see the band performing shows throughout the West Coast, and will also include a performance at Southwest Terror Fest in Tucson, AZ alongside Relapse brethren CALL OF THE VOID. You can find a full list of dates below.

Oct 11 Seattle, WA The Highline
Oct 13 Oakland, CA The Golden Bull
Oct 14 Glendale, CA Complex
Oct 15 Long Beach, CA Alex’s Bar
Oct 16 Tucson, AZ South West Terror Fest – Club Congress
Oct 19 Sacramento, CA Starlite Lounge

Graves at Sea, “Betting on Black”

Tags: , , ,

Boris with Merzbow to Release Gensho in Feb.

Posted in Whathaveyou on September 24th, 2015 by H.P. Taskmaster

Anyone who tells you they know what a Boris release is going to sound like before they’ve actually heard the thing is a liar, and as such, I’m not even gonna guess what the reignited Boris with Merzbow collaboration might be up to on Gensho, the two-disc full-length it will offer up via Relapse Records in Feb. 2016. With over 150 minutes of music — or, you know, something; these definitions get pretty fluid — spread across the two discs meant to be played at the same time, it seems fair to say it’s going to be an experience one way or another, but probably best to leave it at that for the time being.

The last Boris with Merzbow release was 2011’s Klatter, which was recorded in 2004. If you want to feel old, it’s been a decade since they released Sun Baked Snow Cave on Hydra Head.

To the PR wire:

boris with merzbow


Renowned Japanese innovative team BORIS WITH MERZBOW has completed recording a new collaborative full-length LP entitled Gensho, which is Japanese for “phenomenon”. Gensho is a unique release featuring over 150 minutes of new music spread across two discs. The BORIS tracks are new reinventions of the band’s classic songs, while the MERZBOW songs are new compositions. BORIS and MERZBOW have each contributed exactly the same amount of music, with the two discs intended to be played at the same time on physical speakers at varying volumes so that the listener can experience their own “gensho/phenomenon” every time. The artists also commented, “Of course you can enjoy both albums separately, as a separate work.” Gensho is slated for a February 2016 release via Relapse Records.

Though the artists have an extensive history of collaborating with one another, this latest effort was born out of a one-off show in 2014 for Boiler Room TV, when the two acts decided that their set from that day was worthy enough to perform in the context of a proper studio recording. As with every BORIS and MERZBOW release, the only thing to expect is the unexpected. Each artist’s individual contribution to Gensho weaves through countless disparate textures with a varied sonic palette, to say nothing of the effect when both records are played simultaneously. The unique presentation of the album lends it near-infinite potential for aural discovery, and encourages direct interactivity with the listener rarely found in such unconventional music.

BORIS WITH MERZBOW have also announced an exclusive one-off show in Tokyo in support of Gensho this November. More details about Gensho including album art, tracklisting and song samples will be revealed shortly.

Nov 27 Tokyo, JP Fever

Takeshi (Vocals, Guitar & Bass)
Wata (Vocals, Guitar & Echo)
Atsuo (Vocal, Percussion & Electronics)

Masami Akita – electronics

Boris with Merzbow, Live at the Boiler Room, Tokyo, 2014

Tags: , , , , , , ,

Windhand, Grief’s Infernal Flower: In Bloom

Posted in Reviews on September 16th, 2015 by H.P. Taskmaster

windhand grief's infernal flower

More and more, the leadup to each new album release from Virginian doomers Windhand feels like an event. The five-piece have wanted little for vehemence of response going back to their 2012 self-titled debut (streamed here), which in combination with the considerable amount of road time they put in was enough so that Relapse Records came calling for the follow-up, 2013’s Soma (review here). Their touring has only helped expand their reach, and they arrive at their third album (second for Relapse), Grief’s Infernal Flower, ready to take the next step, not only as headliners, but as one of current doom’s most prevalent acts.

A comparison one might make — not sonically — is to where High on Fire were after Blessed Black Wings. A couple killer records under their belt, an underground reputation for volume and badassery, a rising profile, and a swath cut into the US and Europe through consistent touring. High on Fire‘s 2007 outing, Death is this Communion, could easily be argued as their breakout moment, and positioning Windhand‘s Grief’s Infernal Flower next to that album seems all the more appropriate when one notes that both LPs were recorded and mixed by Jack Endino (both also have cover art by Arik Roper). So we see Windhand enter into this album cycle as a band ready for the next level — and whatever that next level turns out to be will unfold over the next couple months and years as Grief’s Infernal Flower is released and received by critics and the public at large; I’m not interested in speculating how “big” it or they will be — and Endino as the producer to help them get there.

For what it’s worth, I do not think this album is as far as Windhand — the five-piece of vocalist/acoustic guitarist Dorthia Cottrell guitarists Garrett Morris and Asechiah Bogdan, bassist Parker Chandler (also Cough) and drummer Ryan Wolfe — are able to go with their sound. The nine tracks/71 minutes of Grief’s Infernal Flower are, however, easily the farthest they’ve gone with it yet. Whether it’s the consuming mire of “Hesperus” and the penultimate “Kingfisher,” both of which top 14 engrossing minutes of aired-out plod, or the acoustic tracks “Sparrow” and “Aition,” both positioned to close a second side of a 2LP release (the latter, thus, finishing the album), Windhand are the most realized and individualized they’ve yet been across Grief’s Infernal Flower‘s considerable span.


Of course, one can still hear shades of Jus Oborn‘s creeping influence in the leads of the one-two opening salvo of “Two Urns” and “Forest Clouds,” but the surrounding context in which that influence plays out has shifted to be more identifiable as Windhand‘s own, and while Soma boasted plenty of atmosphere, the reaches Windhand take the crawling “Tanngrisnir” and “Hyperion” come across as a natural extension and step forward from that. In particular, the performance of Cottrell on “Hyperion,” while layered, stands as an easy showcase for her growth as a singer and the confidence in general with which these songs are executed. She carries the acoustic tracks fluidly, as one might expect given her similarly-minded solo work, but even “Kingfisher,” which by the time it hits is not just the apex of the album but the deepest plummet of its hypnotic dive, is made richer for her delivery, which feels mirrored in the echoing guitars as only hinted prior.

And while doom is still very much at the heart of what Windhand have to offer, they continue to expand the definition of what that doom means in terms of their own sound. The early-arriving “Crypt Key” is as tonally cumbersome as “Hesperus” or “Kingfisher” once it gets past its acoustic intro and suddenly lurches forward, heavy-swaying and dreamy in kind, Chandler adding organ for even more flourish, but it’s also among the catchier tracks the band has ever written and especially in its chorus has a distinctive grunge vibe, which “Tanngrisnir” complements gorgeously. Not sure I need to note that Endino also helmed records for SoundgardenL7 and Nirvana, but I will anyway, though the nuance feels more naturally brought to bear and less calculated than the band writing a song to suit the style of their producer.

Still, it’s hard not to listen to Grief’s Infernal Flower with that collaboration in mind, which no doubt was part of the intent in working with Endino in the first place, and pivotally, it’s the band who makes the lasting impression when the album is done, Cottrell‘s resonant self-harmonies on “Aition” backed with the sound of wind to fill out the mix and remind of the foreboding ambience the band has conjured all along. Wherever Grief’s Infernal Flower takes them, and whatever its impact on the band over the long-ish term until their next outing (and beyond, I suppose), it remains Windhand‘s defining work to-date and a fresh take on ideas that, while superficially familiar, are given new life in the hands of a band reshaping their genre to suit their purposes. I’m not convinced it’s their masterpiece or their creative peak, but it’s a definite step in that direction and one that feels integral to the work Windhand want to do.

Windhand, “Crypt Key” official video

Windhand on Thee Facebooks

Windhand on Bandcamp

Windhand at Relapse Records

Tags: , , , , , ,

Inter Arma Set to Begin Recording New Album; Touring with Kylesa Next Month

Posted in Whathaveyou on September 11th, 2015 by H.P. Taskmaster

I caught onto Inter Arma‘s 2014 single-song outing, The Cavern, pretty late. Waited until I bought it to dig in, essentially, but had no regrets once I did, and so it’s that much easier to look forward to their next album’s arrival in 2016. Once again, they’ll be recording with Mikey Allred (Across TundrasAll Them Witches) when they enter the studio on Sept. 19, and they also have tour dates with Kylesa upcoming next month. Seems likely the record will be done by then, unless they’re planning to finish it over the winter after they tour, so I wouldn’t be surprised if they took some of the new material on the road.

They offer some comment on what to expect (hint: the unexpected), and the PR wire brings those tour dates as follows:

inter arma

INTER ARMA: Prepare New Album; Announce Tour Dates With Kylesa

Richmond, VA’s INTER ARMA have announced their plans for their highly-anticipated third full-length record. The as-yet-to-be-titled album follow-up to 2013’s Sky Burial will again be recorded and produced at Dark Art Audio with Mikey Allred (Yautja, Hivelords), where the band has produced its last two releases. The record is due out early next year via Relapse.

The band commented on the new album, “On September 19th we’ll return to Dark Art Audio in Madison, TN to begin recording our third full length record. The sonic alchemist Mikey Allred will once again sit in the captain’s seat for this journey. Album title, etc. are TBA. As always, expect the unexpected.”

After having completed a US tour this past May with pessimistic Nashville sludge crew Yautja that also included an appearance at Maryland Deathfest, INTER ARMA have also announced new touring plans. The band will be embarking on a series of US shows this October directly supporting Kylesa. Further support will come from Indian Handcrafts and Irata. INTER ARMA are still touring in support of their two latest releases, 2014’s The Cavern and 2013’s Sky Burial, both of which can be streamed via INTER ARMA’s official Bandcamp. See below for a full list of dates:

INTER ARMA Tour Dates:
***All dates with Kylesa, Indian Handcrafts and Irata***
Oct 06 St. Petersburg, FL State Theatre
Oct 07 Miami, FL Churchills Pub
Oct 08 Orlando, FL The Social
Oct 09 Savannah, GA Jinx
Oct 10 Asheville, NC New Mountain
Oct 11 Nashville, TN The Basement East
Oct 13 Columbus, OH The Basement
Oct 14 Grand Rapids, MI Pyramid Scheme
Oct 15 Chicago, IL Empty Bottle
Oct 16 Cleveland, OH Grog Shop
Oct 17 Pittsburgh, PA Altar Bar
Oct 19 Boston, MA Brighton Music Hall
Oct 20 Philadelphia, PA Black Box at Underground Arts
Oct 21 Brooklyn, NY Saint Vitus
Oct 22 Jersey City, NJ Monty Hall
Oct 23 Richmond, VA The Broadberry
Oct 24 Washington, DC Rock & Roll Hotel

Inter Arma, The Cavern (2014)

Tags: , , ,

Hooded Menace Set Oct. 30 Release for Darkness Drips Forth

Posted in Whathaveyou on August 27th, 2015 by H.P. Taskmaster

hooded menace

It was announced earlier this year that Finnish death-doom malevolents Hooded Menace were recording their next album at Skyhammer Studio, and it seems that the rotten fruit of that effort will be released on Oct. 30. Out as close as possible to Halloween on Relapse Records, the offering is called Darkness Drips Forth, and it’s available to preorder now with a video trailer revealed. I doubt they’ll be long into the thing before it lives up to its name, but of course we’ll have to wait until we get there to find out for sure.

The PR wire gets drippy:

hooded menace darkness drips forth

HOODED MENACE: Finnish Masters of Deathly Horror Announce Imminent Release of ‘Darkness Drips Forth’ via Relapse Records

Finland’s HOODED MENACE have returned with Darkness Drips Forth, their fourth full-length and most gruesome work to date. Recorded and mixed by Chris Fielding (Electric Wizard, Primordial) and the band´s usual sound engineer Mikko Saastamoinen, and graced by decrepit artwork from Justin Bartlett, the band employ a new approach on their latest effort, expanding their writing across four cataclysmically dense tracks, nearly all of which exceed ten minutes apiece. Cavernous vocals preside over mastermind Lasse Pyykko’s rumbling riffs, while the rest of the band’s unshakable rhythmic core provides a grim backbone for the record.

The hint of melody HOODED MENACE sought back in their earliest days has fully blossomed into an essential element of the band’s music; Darkness Drips Forth is as melodic as it is devastating and as emotionally disquieting as it is thematically stirring. Funereal, deliberate, and methodical, Darkness Drips Forth is sure to be an essential acquisition for fans of Winter’s crushing doom, the old-school death metal of Bolt Thrower and Asphyx, and the cruel, apocalyptic atmospheres of Dead Congregation and Coffins alike. Just in time for Halloween, Hooded Menace delivers a gruesome treat to chill your bones and crack open your coffin.

The record is slated for an October 30, 2015 release via Relapse Records, and will be available on digital, CD, and vinyl formats. Preorder the album on CD or special edition vinyl here, or preorder the digital version from Bandcamp here.

1. Blood For The Burning Oath / Dungeons of The Disembodied
2. Elysium of Dripping Death
3. Ashen With Solemn Decay
4. Beyond Deserted Flesh

Hooded Menace, Darkness Drips Forth album teaser

Tags: , , ,

Ecstatic Vision Add More Shows to Fall Tour

Posted in Whathaveyou on August 27th, 2015 by H.P. Taskmaster


It was already a pretty significant run, but Philly’s Ecstatic Vision have added even more shows around their upcoming tour with Uncle Acid and the Deadbeats and Ruby the Hatchet. Of course, Ecstatic Vision are out supporting their Relapse Records debut, Sonic Praise (review here), the lysergic nature of which was unveiled last month. These guys have already shown a willingness to hit the road, as they did earlier in 2015 alongside Enslaved and YOB, and I’d be very surprised if they didn’t wind up doing even more in 2016. Maybe a trip to Europe? Maybe in springtime?

And in case that dogwhistle wasn’t loud enough, I was speculating that they’d be the latest Relapse act to make an appearance at Roadburn in April. [UPDATE: I’ve just read that Ecstatic Vision have signed with Swamp Booking and will indeed be touring Europe in April, making that appearance even more likely.] I guess we’ll see if I’m right on that one, but they’re plenty busy in the meantime.

From the PR wire:

ecstatic vision shows

Ecstatic Vision Add More North American Live Dates

Touring with Uncle Acid & The Deadbeats and Ruby The Hatchet

Ecstatic Vision hit the road in a couple of weeks with Uncle Acid & The Deadbeats and Ruby The Hatchet for a full North American trek. Their stunning live show and debut, Sonic Praise earned them a signing with Relapse Records just a little after a year of coming together as a band. Don’t miss them in a city near you – all shows listed below.

In case you missed it: Ecstatic Vision weave the guitar heroics of the 70’s heavy classics of UFO and Hawkwind with the rhythmic intensity of Sun Ra and Fela Kuti. Massive riffs vibe seamlessly with deep rhythms to create one of the most original and best heavy psych debuts in years.

Ecstatic Vision Live Dates:
9/8: The Garage- Winston Salem, NC
9/9: Center Stage – Atlanta, GA #
9/10: The Golden Pony – Harrisonburg, VA
9/11: Baltimore Sound Stage – Baltimore, MD #
9/12: Webster Hall – New York, NY #
9/13: Union Transfer – Philadelphia, PA #
9/14: Royale – Boston, MA #
9/16: Corona Theater – Montreal, QC #
9/17: Phoenix Theater – Toronto, ON #
9/18: Mr. Smalls – Pittsburgh, PA #
9/19: Metro – Chicago, IL #
9/20: Mill City Nights – Minneapolis, MN #
9/22: Summit Theater – Denver, CO #
9/23: Urban Lounge – Salt Lake City, UT #
9/25: Commodore Ballroom – Vancouver, BC #
9/26: El Corazon – Seattle, WA #
9/27: Wonder Ballroom – Portland, OR #
9/29: Slims – San Francisco, CA #
9/30: Slims – San Francisco, CA #
10/1: The Fonda Theater – Los Angeles, CA #
10/2: The Observatory – Santa Ana, CA #
10/3: Time Out Lounge – Tempe, AZ
10/6: Sons of Hermann Hall – Dallas, TX *
10/7: Hotel Vegas – Austin, TX
10/8: Vino’s – Little Rock, AR
10/9: TBA – Nashville, TN
10/10: Zanzabar – Louisville, KY
10/11: Blind Bobs – Dayton, OH

# – w/ Uncle Acid & The Deadbeats and Ruby The Hatchet
* – w/ King Dude

Ecstatic Vision, Sonic Praise (2015)

Tags: , , ,

Ecstatic Vision, Sonic Praise: High Times on the Astral Plane

Posted in Reviews on August 10th, 2015 by H.P. Taskmaster

ecstatic vision sonic praise

Philadelphia heavy psych trio Ecstatic Vision were signed to Relapse Records last winter on the strength of their first demo and an apparent readiness to hit the road hard. They did so this spring alongside Enslaved and YOB and will do so again this fall with Uncle Acid and the Deadbeats and fellow Philly residents Ruby the Hatchet. Their first album, Sonic Praise, could easily have been an afterthought to their touring intentions. It is not. The trio of guitarist/vocalist/noisemaker Douglas Sabolik, drummer/percussionist Jordan Crouse — both formerly of metalcore-ish agents A Life Once Lost — and bassist Michael Connor effectively conjure heavy psychedelic vibing and space rock thrust throughout Sonic Praise‘s five tracks and vinyl-minded 38 minutes, positioning the longest cut, “Astral Plane” (12:38), effectively as the second piece behind the already-jammy opener “Journey” for maximum out-there exploration.

Some of the elements feel interchangeable on a thematic level — that is to say, “Astral Plane” could just as easily be called “Sonic Praise” and “Sonic Praise,” which appears as track four, could just as easily be called “Journey,” and so on — but there’s no denying that Ecstatic Vision hit their marks, and given how hard they make it to remember this is their first album and that essentially they’re a band of players exploring a new style of expression as they jam their way through, it’s correspondingly easy to get on board with some familiar weedian worship. Sabolik‘s guitar work is at the fore, but a great strength Ecstatic Vision show from the beginning of “Journey” lies in immersion, and they leave little room for either being completely hypnotized or nothing at all. The former is the more enjoyable position.

“Journey” starts off quick a wash of effects and synth swirl before a Sleep-y riff takes hold, but already there’s more at work than simple Pike/Cisneros worship. That’s good news, and likewise the psychedelic push that emerges from Crouse‘s drumming and the grounding effect of Connor‘s bass — which remains reliably earthbound while Sabolik‘s gruff vocals invite the listener along the trip to come from deep in the mix — layered keys and guitar following in the last minute to transition into “Astral Plane” and seemingly demonstrate a meeting of the expanded minds. Sonic Praise as a whole seems to run on a loose drop-out-get-high narrative, the 12 minutes of “Astral Plane” directly questioning what we work for and what the point of doing anything other than getting stoned might be. Fair question, frankly, but what makes the second track the album’s standout is the jam itself.

ecstatic vision

With added percussion, Ecstatic Vision tie into some loose Afrobeat elements, more Goat than Fela Kuti, but more Hawkwind than either of them, saxophone swirl and all, the guest horn contributed by Kevin Nickles, who also adds flute. If Sonic Praise is going to grab the listener, it’s in “Astral Plane,” and while it’s not necessarily as bold a move as it might have been to lead off with it, putting what on many records would be the closer second is commendable. By the time they get around to the centerpiece of the CD/side B opener of the vinyl, “Don’t Kill the Vibe,” there seems to be minimal danger of that actually happening. Much like Crouse‘s drumming, the narrative is pushing straight ahead, toward stoned enlightenment amid swirling synth ghosts and righteous lysergics, all the while retaining a self-aware presence that never truly seems lost no matter how much Ecstatic Vision seem to be advocating a wandering consciousness.

Does that undercut — or further, kill — the vibe? Not really. As the second half of Sonic Praise gets underway, they’re in deep enough that even if they’ve managed to keep their heads about them while building this massive swirl, that doesn’t necessarily mean that one listening to it needs to do the same. “Don’t Kill the Vibe” and the title-track, which follows,” continue the thread that “Journey” and “Astral Plane” set out of trance-inducing psychedelia, the title-track in particular dipping into percussive and melodic nuance in a way that broadens the context of the album overall, winding up with echoing drums and shouts and trailing leads feeding directly into “Cross the Divide,” which at 9:43 is enough to provide a fitting counterpoint to “Astral Plane” and account for the resulting moment of the narrative — the “good time” aspired to in “Don’t Kill the Vibe” is attained — but once again, it’s the power trio instrumental chemistry that Ecstatic Vision boast and the richness of sound they’re able to bring amid their subtly moving repetitions that give the album its satisfying finish.

They shift through a deceptive hook in the last two verses of “Cross the Divide,” but it’s less about structure and, true to form for the entire album preceding, much more about vibe. Vibe is the key. Vibe is the intent — and it’s an intent they state, further emphasizing the consciousness lurking beneath all that psychedelic chaos — and vibe is what they emit. It oozes from the speakers in colorful, headphone-worthy emanations, and while Sonic Praise sounds longer then its 38 minutes, that’s not at all because it’s boring, but because one eventually snaps back to consciousness after the long fadeout of “Cross the Divide” and inevitably wonders what the hell just happened. Make no mistake, Sonic Praise is a beginning point. It’s a band’s first album, and it sounds like it. But it’s also among the most promising debut releases I’ve heard from and American band this year, and with the obvious work they’re willing to put into supporting it, one doubts it’ll be all that long before Ecstatic Vision find themselves mastering this cosmos of their own making.

Ecsatic Vision, Sonic Praise (2015)

Ecstatic Vision on Thee Facebooks

Ecstatic Vision on Bandcamp

Ecstatic Vision at Relapse

Tags: , , , , ,

Minsk Announce West Coast Dates Starting Sept. 1

Posted in Whathaveyou on August 7th, 2015 by H.P. Taskmaster


Good news for those on the western side of the country in that reborn Illinois outfit Minsk are heading out for a round of dates in support of their 2015 return album, The Crash and the Draw (review here), which came out earlier this year on Relapse. They’ve already been to Europe for the album, playing Roadburn and touring alongside Floor, which if you’re going to make a comeback after six years is a damn good way to do it. With the West Coast covered this time around, that really just leaves the East still to do, and it doesn’t seem unreasonable to think more dates will follow before the end of this year, though if it winds up being early 2016, certainly they could be forgiven.

The PR wire has the announcement:

minsk cult of luna subrosa

MINSK: Announce US Tour Dates

Illinois post-metal quintet MINSK have announced their first US tour dates in support of their new album The Crash & The Draw. The dates kick off on September 1st in St Paul, MN and run through September 12th, including a series of West Coast shows as direct support for Sweden’s Cult of Luna along with SubRosa. A complete listing of dates is available below.

MINSK released their first album in six years, The Crash & The Draw, this past April to immense critical acclaim. Captured by the band alongside Sanford Parker (Voivod, Eyehategod, Yob etc.), mixed by Parker and MINSK and mastered by Collin Jordan (Eyehategod, Indian, Wovenhand, Voivod etc.) with additional vocal tracking by Scott Evans (Kowloon Walled City, Old Man Gloom, Floor) and further tracking, editing, and mixing by Kevin Rendleman and Aaron Austin, The Crash & The Draw is an instant contender for one of the most forward-thinking metal records of the year. The album can be streamed in it’s entirety via Bandcamp here.

The album is available on CD/2xLP/Digital and can be purchased via Relapse at THIS LOCATION or digitally HERE.

MINSK Tour Dates:
Sep 01 St. Paul, MN Turf Club
Sep 03 Billings, MT The Railyard
Sep 05 Vancouver, BC Rickshaw Theater*
Sep 06 Seattle, WA Neumo’s*
Sep 07 Portland, OR Star Theater*
Sep 08 San Francisco, CA Slims*
Sep 09 Hollywood, CA The Roxy*
Sep 10 Las Vegas, NV Dive Bar
Sep 12 Denver, CO GLOB
* = with Cult of Luna & SubRosa

Minsk, The Crash and the Draw (2015)

Tags: , , ,