Norwegian five-piece Juicer are set to release their debut long-player, the deceptively-titled Mach IV, on Sept. 21 through All Good Clean Records. Like swagger incarnate, the classic heavy rocking outfit bust out a tight-knit 10-track collection informed by garage rock, early metal and ’70s vibes, peppered with a healthy dose of Scandinavian screw-all, and focusing on the songs, the songs, the songs when it comes to priorities. In intricacies like the piano worked into “Forever is a Long Time” and the twin-guitar leads of the earlier “Saturday Night O.D.,” Juicer present an attention to detail that fleshes out the basic level of craft, but it becomes clear throughout the album’s 38-minute run that it’s in fact that basic craft that’s meant to be the focus.

With Vegar Husby Fiskum‘s vocals front and center on the proto-metallic “Catch 25” and the not-at-all-slacking harmonies in the hook of “The Slacker,” they bask in traditionalist heavy vibes without losing their sound entirely to retroism and their hyper-unpretentious approach speaks to punker roots somewhere in the lineup of Fiskum, guitarists Ole Aleksander Ekker and Fredrik Lian (the latter also vocals), bassist/vocalist Ole Christian Pedersen and drummer Andreas Barlien that keep things exciting without going over-the-top in speed or a hollow-sounding performative nature.

That is, they nail the balance just about all the way around. Mach IV — which would seem to be named to make the casual listener think it’s not at all a debut — has a deceptive amount of class to it, whereby cuts like the opening title-track and the later “Concussion Machine” turn out strutting grooves like Thin Lizzy throwing down with Death Alley and still seem to come out of it with their hands clean. Production is a big part of it in that Juicer manage to hone a sound that’s both natural and still crisp-sounding, as ready for vinyl in its content as its sub-40-minute runtime, and clear-headed in its delivery without being stale.

The solo at the outset of the penultimate “Burrito” and the organ included behind the locked-in groove of “You Scared Me Straight” may be layered in or may be recorded live — the point is the album is naturalist enough that it doesn’t really matter which it is. The results are still the same, and the results are engaging and briskly done in harnessing familiar style elements and recrafting them into something of the band’s own. On that level, as well, Mach IV does little to let its audience know it’s the band’s first LP.

So be it. If you’ve got ears to get down with the cause, Mach IV makes no shortage of arguments in its own favor, and while Juicer at times sound like they might want to be rougher-edged than they are here — one expects when they take a stage, they have a bit more grit to their style — the recording highlights their deftly executed stylistic turns and varied moods while still remaining consistent in tone and overall demeanor. It’s an offering with no shortage of personality, as you can hear in the premiere of “Concussion Machine,” via the player below.

Album info follows from the PR wire. Please enjoy:

Juicer on “Concussion Machine”:

Concussion Machine is a rock and roll epic with a catchy refrain and lots of twin guitars. I guess it follows the same recipe of the remaining tracks with our shameless use of tried and true rock and roll clichés. The lyrics are about knocking the senses of whining and useless people in today’s society, basically we tried to addresses the philosophical questions regarding the everyday life of five ordinary, inconvenient and disillusioned men in their late 20s.

Juicer is a five piece orchestra who plays potent and trashy rock. Their debut album ‘Mach IV’ contains 10 hook based, all killer no filler rock and roll epics. Every single track has been processed through Juicer’s eminent orchestration machinery, complimented with sharp, well formulated lyrics and recorded in an extremely expensive recording studio in down town Trondheim. All this done with a large portion of self-irony and humour that is easy to relate to.

Juicer shows that they’re not afraid to go against the trends and norms of today’s contemporary musical landscapes, making “Mach IV” somewhat of a niche product designed with the lovers of guitar based rock music in mind, by lovers of guitar based rock music.

Tracklist:
1. Mach IV
2. Saturday Night OD
3. Catch 25
4. You Scared me Straight
5. Unconditional Love
6. Forever is a long time
7. Concussion Machine
8. The Slacker
9. Burrito
10. On the move

Juicer is:
Vegar Husby Fiskum – Vocals
Andreas Barlien – Drums
Ole Christian Pedersen – Bass & Vocals
Ole Aleksander Ekker – Guitar
Fredrik Lian – Guitar & Vocals

Juicer on Thee Facebooks

Juicer on Bandcamp

All Good Clean Records on Thee Facebooks

All Good Clean Records website

Scathing. UK sludgesters Battalions don’t waste any time getting down to screamy business on the title-track of their upcoming third full-length, Forever Marching Backwards, for which they’ve got a new video now. Appropriately enough, the clip features a decent amount of walking, but it’s all forward. It leads a protagonist-type dude to hook up with a druid and holding hands en route to what turns out to be a basement where the band is playing. And they’re way mad. And then the song ends and the druid takes off the druid-robe and in a shocking twist it’s a lady? I’m not sure what the significance of the druid being a lady is, but I guess the point is the song being very, very pissed off, and fair enough. APF Records has the album out Nov. 30, which makes it the perfect stocking stuffer for the ultra-furious sludger in your secret Santa office pool.

Info and the video came down the PR wire:

Sludge Titans BATTALIONS Announce New Album; Drop New Video/Single

Forever Marching Backwards to be released via APF Records 30th November

Video and Single ‘Forever Marching Backwards’ is out NOW

BATTALIONS, belligerent champions of the UK DIY underground scene, revered by fans worldwide, lauded by the press and hairier than a bucket of black bears have announced their third album Forever Marching Backwards will be released via APF Records on November 30th 2018.

The band have also released their first video and single ‘Forever Marching Backwards’ from the album, check it out here.

Stream and purchase ‘Forever Marching Backwards’ (single) HERE or via Spotify.

Recorded and mixed by Chris Fielding at Skyhammer Studios in the UK, the resulting album is a danger-fuelled 30 minutes of Battalions own brand of bleak, swaggering, riff-infused groove metal-meets-harsh-punk sound. To quote the band, this is ‘pure Humber sludge’.

Comments vocalist Phil Wilkinson: “If you’ve followed Battalions for the last few albums you can expect tighter production, bigger riffs, more of a focus on structure and song writing along with the usual self-depreciating humour peppered throughout. The album itself is based around lead single ‘Forever Marching Backwards’ from which the album takes its name, essentially an allegory about how society seems to be hardwired to follow blindly without the majority questioning motives. The blind leading the blind.”

Pre-orders are now available via APF Records here.

Forever Marching Backwards Tracklisting
1: Forever Marching Backwards
2: Cities of Ruin
3: Goat Feeder
4: Vaseline (G)Love
5: Tyskie Vampire
6: Infinite Void
7: Brick Hole
8: Devil’s Footsteps

Battalions is:
Phil Wilkinson – Vocals
Peter Cross – Guitars
Matthew Dennett – Bass
Matt Walker – Drums

https://www.facebook.com/BattalionsSludge
https://twitter.com/BattalionsDirt
https://www.instagram.com/battalions/
https://open.spotify.com/album/2YlhOfnx6QVjKsTyi5bzqq
https://battalionsdirt.bandcamp.com/
https://www.facebook.com/apfrecords
https://twitter.com/apf_records
https://www.instagram.com/apfrecords
https://apfrecords.bigcartel.com/
http://www.apfrecords.co.uk/

Battalions, “Forever Marching Backwards” official video

Swedish classicists Hypnos release their third album, Set Fire to the Sky, on Sept. 28 as their more-or-less debut on The Sign Records, which also issued the live-in-studio GBG Sessions earlier this year. The five-piece Gothenburg outfit would seem to be progressing not only in their songwriting but along a pattern of corresponding years, as their second LP, 2016’s Cold Winds (review here), followed the boogie rock of their 2014 self-titled debut with a tilt toward early metal that more than hinted at heavy rock giving way as it did to the NWOBHM. Well, the Iron Maiden runs thick throughout Set Fire to the Sky, and while there are still some outward shades of classic heavy rock in the shuffle of “Ain’t No Fool” or the strutting “Tell Me Goodbye,” there’s no question that across the bulk of their latest work, the balance has shifted toward the metallic.

Whether it’s the proto-thrash of “Looking Out” or the expansive grandiosity of the 7:44 “Deadline,” the bassline of which seems to directly wink at Black Sabbath‘s “Heaven and Hell” in the verses en route to yet another hook in an apparently ongoing series thereof. The rush of “Caught in the Night” would seem to be in conversation with opener “Get Out,” and between those two and the uptempo pacing of the aforementioned “Ain’t No Fool,” the sense of urgency is palpable from front to back. One could argue even the title Set Fire to the Sky speaks to a kind of intensity with which the record brims even unto the more comfortably-swinging title-track with its effective backing vocals and Scorpions-style groove. The outliers, then, are “Time is Running Out,” which despite its title working on the theme departs the NWOBHM shove in favor of a mellow and atmospheric rock with shades of Morricone in the lead guitar and layers of acoustic behind, and closer “Slutet,” which sure enough translates to “end” and tops seven minutes with a build into the grand finale that starts out no less mellow than “Time is Running Out” earlier.

Not that one shouldn’t consider those songs as part of the overarching impression Set Fire to the Sky makes — they’re essential in adding depth to the atmosphere and to expanding the general character of the band — but the primary personality Hypnos have on display is still a classic metal party. If you could put stone-washed denim on a turntable and have it make a sound, it would start playing “Get Out.” All told, the nine-track/44-minute is stunningly coherent in its aesthetic choices, but that doesn’t come at the sacrifice of songwriting either. Hypnos have always been able to work with classic structures and classic styles alike, and whether it’s “Caught in the Night” — there are few things that could be more natural than this band writing songs about “the night” — “Tell Me Goodbye” or the reaches of “Slutet,” Set Fire to the Sky is nothing if it isn’t the furthest point yet on their progressive forward line. You can call it rock, or you can call it metal. Neither is wrong and I honestly doubt the band cares much either way, but what matters more is that Set Fire to the Sky finds Hypnos further refining their place in the sphere of heavy, standing apart from both the most modern of practitioners and those who’ve sworn fealty solely to the tenets of ’70s boogie.

You can hear the premiere of “Caught in the Night” below, followed by more background on the recording, courtesy of the PR wire. Set Fire to the Sky is available to preorder now from The Sign Records.

Please enjoy:

Hypnos blast off with their new album ”Set Fire To The Sky”. A more high flying and dynamic album that hits Mach 3 on the band’s career. Eight loud rock tracks that hold a playful and vigorous vibe. On their third album, Hypnos have refined their sound together with producer Ola Ersfjord (Tribulation, Primordial, Honeymoon Disease). Stronger songwriting, catchier hooks, together with a groovy rhythm section makes ”Set Fire To The Sky” Hypnos strongest album to this day. Hypnos are establishing their sound. It´s clear that ”Set Fire To The Sky” is the launchpad for the bands future. The new album is released on The Sign Records on the 28th of September.

It´s hard to mistake the Gothenburg based band’s Swedish roots. The intensity of their approach to music, and how their influences are cherry-picked out of the best of rock history. The pumping bass and epic solos side by side with Linus Johansson’s powerful vocals creates a modern take on classic rock in 2018. The songs were written during the short time frame of two months and show a re-born band on fire. There is both the raw energy that comes with something new and the wisdom from an experienced band on the album. ”Set Fire To The Sky” was recorded during nine days at Studio Ganymeden.

Pre-Order album here: https://freighttrain.se/en/the-sign-record/hypnos/

Tracklist:
Get Out
Ain’t No Fool
Set Fire To The Sky
Deadline
Time Is Running Out
Caught In The Night
Tell Me Goodbye
Looking Out
Slutet

Hypnos is:
Linus
Oskar
Pontus
Anton
Hampus

Hypnos on Thee Facebooks

Hypnos on Bandcamp

The Sign Records on Thee Facebooks

The Sign Records website

The Sign Records on Bandcamp

So, I’m late to the party on this band and I’m not about to pretend otherwise. 1476 released their third album, Our Season Draws Near, this past Spring on Prophecy Productions and they’ll hit the road to support it starting this Friday in Buffalo, New York. Based out of the suitably-witchy goth-tourist-trap known as Salem, Massachsetts — also there are good restaurants and a bitchin’ video game store — the two-piece bridge a gap between progressive melodic rock, post-punk, post-black metal and post-your face, which is not a minor gap indeed, and rather than simply assault listeners they play to multiple sides in memorable songcraft and a varied atmosphere, still keeping in their pocket an all-out burst that surfaces every now and then. You can stream the record at the bottom of this post, and I’m sure you’re already all over this one, because you, like the rest of the planet, are way ahead of me on everything, but even so, it’s there if you want to put it on.

I dig it, I guess is the point.

Tour dates follow:

SALEM’S 1476 EMBARK ON U.S. TOUR THIS MONTH

** OUR SEASON DRAWS NEAR, OUT NOW ON PROPHECY PRODUCTIONS**

Salem’s “hermetic death rock” duo 1476 will hit the road this month for fall tour of the United States in support of their 3rd album, Our Season Draws Near, which is available now from Prophecy Productions. The month-long tour will kick off in Buffalo, NY on August 31st and make its way across the country before wrapping up in their hometown of Salem for a bewitching show on September 28th.

Following the tour the band are confirmed to perform at the inaugural Prophecy Fest USA on November 2nd at Knitting Factory in Brooklyn, NY. The festival will take place on November 2nd and 3rd and will also feature performances by Alcest, Eye of Nix, Volur, Xasthur, Kayo Dot, Novembers Doom, Crowhurst, Year of the Cobra and So Hideous. Tickets are on sale now at http://us.prophecy.de/prophecy-fest/prophecy-fest-us-ticket.html.

The revered atmospheric metal band, consisting of Robb Kavjian and Neil DeRosa, has created a worldwide cult following since their debut in 2010. Following several EP and LP releases, 1476 partnered with Prophecy Productions, who are based in Germany and United States, in 2016 and released their critically heralded album, Our Season Draws Near, mixed by Markus Siegenhort (of post-black metal band Lantlôs,) the subsequent year. The duo’s latest chapter in their dark journey is an amalgam of punk-charged metal and ambient folk that provide a haunting soundtrack for a dreary New England winter.

Tour Dates:
Aug. 31st – Buffalo, NY – Sugar City
Sept. 1st – Detroit, MI – Fireside Inn
Sept. 2nd – Canton, OH @ Buzzbin Art and Music Shop
Sept. 3rd – Indianapolis, IN @ Black Circle Brewing
Sept. 4th – Chicago, IL – Livewire
Sept. 5th – Madison, WI – The Wisco
Sept. 6th – St. Paul, MN – Caydence Records
Sept. 7th – Sioux Falls, SD @ Big’s Bar
Sept. 8th- Denver, CO @ Seventh Circle Music Collective
Sept. 9th – Kalispell, MT @ Old School Records
Sept. 11th – Seattle, WA @ The Funhouse
Sept. 12th – Portland, OR @ High Water Mark
Sept. 13th – Sacramento, CA @ Blue Lamp
Sept. 14th – Lakewood, CA @ Regal Inn
Sept. 15th – Tempe, AZ @ TimeOut Lounge
Sept. 16th – Albuquerque, NM – TBA
Sept. 18th – Denton, TX @ Dan’s Silver Leaf
Sept. 19th – Austin, TX @ The Lost Well
Sept. 21st – San Antonio, TX – The Guru
Sept. 22nd – Houston, TX @ Rudyard’s Pub
Sept. 23rd – New Orleans, LA – TBA
Sept. 25th – Raleigh, NC @ Slim’s
Sept. 26th – Richmond, VA @ Strange Matter
Sept. 27th – Philadelphia, PA @ Creep Records
Sept. 28th – Salem, MA @ Koto

http://www.1476cult.com/
https://www.facebook.com/1476cult/
https://1476.bandcamp.com/
http://en.prophecy.de/

1476, Our Season Draws Near (2018)

Mexico City-based duo Terror Cósmico have a Sept. 3 digital release date for their aptly-titled third album, III. With impending CD issue via Concreto Records to follow and vinyl sometime in 2019 — presumably before they embark on a European tour in May — the two-piece of guitarist Javier Alejandre and drummer Nicolás Detta make an impression in crunch tones, hard-hit drums and a variety of atmospheres from the Earth-meets-near-traditional doom of opener “Nocturno” through the ambient-vocalized “La Cabalgata de Asmodeo” and the foreboding tension in the dirge “Hypnos.” The screams in “La Cabalgata de Asmodeo” and the growls/throatrippers later in the penultimate “Salió de Pantano” are standout moments, to be sure, but ultimately they become part of the atmosphere created by the guitar and drums, surely influenced in its most raging moments by bands like Black Cobra but having more in common in Alejandre‘s tone on “Kronosauris” with the defunct Beast in the Field, though even that comparison is a stretch as Terror Cósmico set off on the 10-minute journey that is closer “La Montaña,” a patient build that disintegrates in its second half only to ebb and flow again before its sudden cold-stop finish. There’s even some melody late in the guitar, just in case you think you might have Terror Cósmico at all figured out.

And from the rumble and spaciousness of “Nocturno” onward, the seven-track/43-minute offering never quite gives its audience a chance to be fully hypnotized. “Nocturno” has underlying movement and a subtle angularity that’s just enough to stave off trance-inducement, and just when it might begin to dull the consciousness, “Tlatecuhtli” picks up directly with a more active thrust and popping, forceful snare work and an ultimate noise assault that’s as precise as it is tonally and rhythmically dense. It probably doesn’t need to be noted that for all their lacking a bassist there’s no shortage of low end in Alejandre‘s guitar, and as he loops through layers and tops a steady rhythm line with a scouring lead on “Kronosaurus,” the sound is indeed full and deep-running. They’re three albums in, and have several other singles and shorter-releases besides, so Detta and Alejandre have a clear sense of what they want their sound to do and the impact they want it to make, and III manifests that in both an aggressive pummel and steady-handed shifts in mood. “La Cabalgata de Asmodeo” is the centerpiece and particularly extreme in both its faster and slower stretches — and Detta does excellently in leading the way through both — but even there, Terror Cósmico remain coherent and able to slip into a second half of relatively-minimalist guitar, the residual noise fading en route to “Hypnos.”

Following behind 2015’s Devorador de Sueños and 2013’s Muerte y Transfiguración, III is a record for which genre is a thing to be manipulated to suit its own ends, not the other way around. As Terror Cósmico roll and nod through “Salió del Pantano,” which is the shortest inclusion at 4:11, the full-album flow of which that song is part becomes all the more apparent, and with “La Montaña” still to climb, there’s no loss either of the presence of the band’s delivery or the deceptive breadth they conjure in the material. Though it would seem to be a contradiction to have a two-piece that’s as expansive as it is crushing, Alejandre and Detta break the glass of expectation and use the shards to expose the raw flesh of their creation. It is a powerful and consuming release.

Below, you can stream the premiere of “Salió del Pantano,” which you’ll find on the YouTube embed followed by some more info off the PR wire. More on the European tour when I hear it, but in the meantime, please enjoy:

Terror Cósmico, “Salió del Pantano” official track premiere

An instrumental duo born in 2012 in Mexico City, Terror Cósmico is made up of guitar and drums. Even with only two instruments, the dynamics of their music lead you from mystic and harmonic passages to dark and violent cuts.

On September 2013 they released their first full-length album, “Muerte y Transiguración”, with the Mexican label Concreto Records. With this material they toured México, the U.S. and Argentina. On August 2015 they released their second album, “Devorador De Sueños” (Concreto Records), this time touring Mexico, the west coast of the US and finally Europe alongside mexican stoner metal band “Weedsnake” through 2017´s summer. In 2018 the band will release their 3rd full length album.

Third LP from the Mexico City duo, having as title the number of release “III”. The band shows 7 tracks redefining the sound they’ve had since the beginning. Recorded at Testa Studio in Leon, Guanajuato in May 2018. The tracks travel through different sonic sceneries, going through introspective ambient moods to raw and aggressive songs that mutate with each other. An album that maintains the sound of the band but has new elements, more loops and vocals without lyrics in 2 tracks. The artwork is done by Karmazid and the album will be released on September 3 in all digital platforms. Cd will be released by Mexican label Concreto Records before the end of the year and vinyl will be coedited by different labels for next year.

Terror Cósmico on Thee Facebooks

Terror Cósmico on Bandcamp

Terror Cósmico on Tumblr

Concreto Records on Thee Facebooks

Columbus, Ohio-based atmospheric heavy rockers Brujas del Sol — who might be more progressive than they are psychedelic but are still a pretty good bit of both and why quibble anyway? — have signed to Kozmik Artifactz. They’ll release their second album, titled simply II, through the storied imprint on Oct. 19 with the full vinyl treatment. The four-piece was last heard from with late-2015’s single, Starquake (review here), and II will follow some five years behind their 2013 debut, Moonliner. That outing was released through Devouter Records.

Brujas del Sol mark the latest in an impressive and geographically varied string of pickups for Kozmik Artifactz, which in addition to the label comprises one of the leading European distros, and one wonders if perhaps in aligning with them, Brujas del Sol might have eyes on a European tour sometime in 2019. Or maybe they just wanted to put the record out on wax. That’d be fair enough, and Kozmik Artifactz certainly seem to know what they’re doing when it comes to such things. I guess the point is kudos all around. I’ll hope to get to hear the album.

The label’s announcement follows here:

***NEW SIGNING – BRUJAS DEL SOL***

Today we officially welcome Brujas del Sol to the Kozmik fold. We’ll be releasing their new album “II” on the 19th of October, on heavy weight gatefold vinyl.

“We are very thrilled to be a part of the Kozmik Artifactz family. It is an honour to be among such an incredible line-up of bands.

Our new album, II, comes on the tail end of big changes among the members in the band. Both musically and personally. With influences within the prog, psych and post-rock communities, we feel we will be a nice addition the Kozmik Krew.

Those who enjoy hypnotic rhythms, fuzzy and modulated guitars, pulsating analogue synthesis and songs that blend progressive, space rock and heavy influences will appreciate II.”

Brujas del Sol is:
Adrian – High end/Vocals
Derrick – Low end
Josh – Percussion
Phillip Reed – Keyboards

https://www.facebook.com/BrujasdelSol/
https://brujasdelsol.bandcamp.com/
http://kozmik-artifactz.com/
https://www.facebook.com/kozmikartifactz

Brujas del Sol, Starquake (2015)

Classic hard rock? Heavy heavy metal? Wherever you might think Glanville and Galactic Superlords respectively reside on the genre spectrum, I think it’s safe to assume the shows are going to be a good time. The Germany/UK and just-Germany-based five-pieces — that’s one crowded-ass van, if they’re sharing — head out together beginning Oct. 2 in Darmstadt and will seven shows throughout Germany, hitting Galactic Superlords‘ native Köln along the way.

Galactic Superlords go supporting their 2018 self-titled debut full-length, and Glanville head out on the heels of their debut EP, First Blood (review here), and the pairing couldn’t be more appropriate, since in addition to whatever sonic elements they might have in common, Glanville frontman René Hofmann (also of Wight) recorded the Galactic Superlords album. It’s nice to have friends, or so I hear.

To the PR wire:

GLANVILLE AND GALACTIC SUPERLORDS TEAM UP FOR TOUR THIS FALL!

A bit of Thin Lizzy, a bit of Iron Maiden, with hints of Dio. GLANVILLE sounds like Rob Halford wearing Dennis Hopper’s leather jacket in Easy Rider. An introduction of exciting things to come: After the critically acclaimed debut EP ‘First Blood’ released in May 2018, GLANVILLE have teamed up with the GALACTIC SUPERLORDS for a tour this Fall!

René Hofmann and Philipp Michel started playing music together as teenagers but at such a young age nobody knows what will happen the next day, much less in the far future. 13 years later Hofmann is a music producer in Darmstadt and Michel is an active touring guitar player and songwriter, still based in the Hessian hinterland. After all these years the two decide to start a new project together, a classic duo like Page and Plant. The search for the rest of the band GLANVILLE took more than a year, but finally a line-up of experienced musicians was completed: Peter-Philipp Schierhorn on bass, Thomas Hoffmann on drums, and Chris West on second guitar. After a quick and dirty pre-production the band met at a studio in Darmstadt, with most members never having played together and some even meeting each other for the first time. Everyone’s prepared and focused. Two days of rehearsals, two days of recording. Live, real and with passion for the music.
Catch GLANVILLE live and real on the following dates this Fall, with GALACTIC SUPERLORDS on the bill:

02.10.18 DE – Darmstadt – HoffART Theater
03.10.18 DE – Berlin – Toast Hawaii
04.10.18 DE – Hamburg – Bar227
05.10.18 DE – Leipzig – Black Label
06.10.18 DE – Pratteln – Up In Smoke
12.10.18 DE – Köln – Museum
13.10.18 DE – Heidelberg – Beatfabrik

“When meeting Superlords drummer Carsten for the first time, sharing a cigarette at Desertfest Berlin, I immediately noticed that both of us are slightly crazy in a very similar way. And of course we found out that our respective bands also had something in common – fucking heavy metal! Over the years, we have grown to be good friends, and both our bands have become great teams, but still, nobody has ever heard of either one. So we decided to organize a DIY tour under the name “Your New Favourite Metal Bands You’ve Never Heard Of.” We are really looking forward to deliver some serious heavy metal together, real rock music on real stages, without playbacks, modelling amps or macbooks.” – René Hofmann, vocalist of Glanville

Glanville is:
René Hofmann (vocals)
Philipp Michel (lead guitar)
Peter-Philipp Schierhorn (bass)
Thomas Hoffmann (drums)
Chris West (rhythm guitar)

Galactic Superlords is:
Vocals: Katharina Heldt
Vocals/Guitars: Dennis Sennekamp
Guitars: Alex Miller
Bass: Christian Lantin
Drums: Carsten Krohn

https://www.facebook.com/SirGlanville/
https://glanville.bandcamp.com/
http://www.glanvilleofficial.com
https://fatandholy.bigcartel.com/

https://www.facebook.com/galacticsuperlords/
https://galacticsuperlords.bandcamp.com/
http://superlords.com/
http://www.rockfreaks.de/

Glanville, First Blood EP (2018)

Galactic Superlords, Galactic Superlords (2018)

Please don’t get me wrong, Lord Dying are a cool-ass band, and their last album, 2015’s Poisoned Altars (review here), was pretty much brilliant in its oppressive and doomed extremity, but isn’t that precisely why this is kind of a surprise? I mean, sure, Crowbar and High on Fire and others on the eOne roster are heavy, but aren’t Lord Dying just that extra touch more brutal? They seemed right at home on Relapse, touring their asses off as always, and reaching more people than ever. I don’t know the dudes at all, so maybe the change isn’t as sudden as it seems at all, but I was kind of taken aback to see the announcement come through the PR wire. I guess I just thought Lord Dying were a more vicious-sounding band than a label like eOne would seek out. Credit to both label and band that I was mistaken in that supposition, I guess.

Bottom line: right on. No one can say Lord Dying didn’t earn what they’ve got.

Here’s what the label had to say about it:

ENTERTAINMENT ONE SIGNS LORD DYING

BAND TO BEGIN RECORDING NEW LP DUE OUT NEXT YEAR

Entertainment One (eOne) has signed Portland, Oregon’s LORD DYING to a worldwide deal with plans to release an all-new LP next year. Hailing from a region of the country that’s abundant with purveyors of the heavy riff, both parties are eager to get started.

“We are very excited to announce our signing with eOne,” says guitarist and vocalist Erik Olson. “We’re in good company here with the likes of Crowbar, High on Fire and Black Fast.”

LORD DYING will head into the studio next week with producer/engineer Mike Plotnikoff (Fear Factory/In Flames) at West Valley Recording Studios.

“We’re excited to start working on our third album with Mike. We’ve been working tirelessly the last couple years on this album and in some ways, it’s one Chris and I have wanted to make for the last 15+ years.”

The new, yet to be titled LP will serve as the follow up to Poisoned Altars released in 2015.

https://www.facebook.com/LordDying/
http://lorddying.bandcamp.com/
https://twitter.com/eoneheavy
https://www.facebook.com/eOneHeavy

Lord Dying, “A Wound Outside of Time” official video