Look. I don’t know the cats from Belfast trio Nomadic Rituals at all. I was fortunate enough to see the band in Dublin in 2017 (review here), but it’s not like we hung out after the show or anything. Point is, for all I know, baritone guitarist/vocalist Peter Hunter (also synth), bassist/vocalist Craig Carson and drummer Mark Smyth could be absolute sweethearts — really nice guys. But their sound is nasty as fuck.

Crushing, wrenching, slow-motion-grinding atmospheric sludge is writ all across the feels-longer-than 45 minutes of their third full-length, Tides, released earlier this month through respected Irish purveyor Cursed Monk Records. The follow-up to 2017’s likewise gruesome Marking the Day (review here), the six-song Tides gives the listener hints in how to approach it in how it leads off. While it begins with an initial onslaught of noise meant to symbolize the ‘launch’ in the title of opener/longest track (immediate points) “Cassini-Huygens Part 1 (The Launch),” what builds up over the next few minutes from there is gradual, recalling some of We Lost the Sea‘s Challenger-themed post-rock, if in immediately heavier fashion. Shortly before three and a half minutes in, however, the switch is flipped and the thicker chug arrives, followed shortly thereafter by the harsh, barking vocals that will pervade much of what follows, adding to the extremity of the band’s approach overall.

But it’s in the pairing of “Cassini-Huygens Part 1 (The Launch)” and the subsequent “Cassini-Huygens Part 2 (Last Transmission)” that Tides tells you how to read it. Of course it splits in half to accommodate vinyl with three songs on two sides, but if you’re listening, say, digitally, it also functions as three sets of two songs each. You get the “Cassini-Huygens” duology named for the mission to study Saturn, and you get “Them” and Tumulus” paired, the one ending in silence, the other picking up from it, and you get the slow-building “Moving Towards Total Disorganization” feeding into closer “The Burden” — more than just an intro, but certainly complementary in how it rolls out, ending quiet and giving way to the more immediate low-end pulsations of the finale. Nomadic Rituals by no means go out of their way to make moves toward accessibility — even unto the depths of “The Burden,” they are ferocious, shifting between angular churn and sample-laced noise, only to end with scathing layers of feedback — but with a different understanding of how Tides might be intended to work, the perspective shifts accordingly, and the immersion that is so well enacted by the songs becomes even more vital.

However you go through Tides, one should be aware of the undertow that comes with the trio’s lumbering oscillations. That is to say, the album is one that does not blink as it pulls the listener into its sphere, at once broad and spacious and crushing and freezing the way one thinks of vacuum affecting lungs; gorgeous and destructive in kind.

You’ll find the Bandcamp stream of the full release down toward the bottom of the post, and I’m thrilled to host the premiere of the video for “Them” below.

However you approach, please enjoy:

Nomadic Rituals, “Them” official video premiere

Nomadic Rituals are a heavy 3-piece Sludge/Doom band from Belfast, Northern Ireland. Formed in July 2012 by Craig Carson, Peter Hunter, and Mark Smyth, the band started writing and gigging, when they released 3 self-recorded tracks that became their demo “DFWG”. This was followed up with the recording of a full-length album in late March 2013 with Niall Doran at Start Together Studios, Belfast. Released in September of that year, “Holy Giants” garnered a number of very positive reviews.

Gigging continued after release of the album, and the increasing attention received by the band opened up opportunities for shows further afield. Writing also continued, and the band returned to Start Together Studios to work with Niall Doran on the recording of “The Great Dying”. This was released in late February 2015 as a split 12″ vinyl along with fellow local Doom band Tome.

Further gigging and a lengthy period of writing followed, after which the band returned to Start Together Studio to record their second full length album ‘Marking the Day’ in late March 2016. As with the first two releases, the artwork and packaging for the new album was created, designed and screen printed by the band themselves. ‘Marking the Day’ was released in February 2017.once again to critical acclaim.

After several gigs in countries such as Denmark, Norway and Lithuania the band return with their third album ‘Tides’ which was released on CD, Cassette, and Digital Download on the 8th of January 2021 through Cursed Monk Records.

Craig Carson – Bass Guitar / Vocals
Peter Hunter – Baritone Guitar / Vocals / Synth
Mark Smyth – Drums / Percussion

Nomadic Rituals, Tides (2021)

Nomadic Rituals on Facebook

Nomadic Rituals on Instagram

Nomadic Rituals on Bandcamp

Nomadic Rituals website

Cursed Monk Records website

Cursed Monk Records on Bandcamp

Cursed Monk Records on Facebook

Cursed Monk Records on Instagram

Swedish heavy rockers Greenleaf will release their eighth full-length, Echoes From a Mass, on March 26 through Napalm Records. To coincide with this righteous news, the four-piece have a new video to unveil for opening track “Tides” from the 10-song outing, and, well, it’s just a joy to behold. It’s been since last March that the band said they were writing with an eye toward early 2021 — so hey, nice that somebody’s plans for 2020 came together, if likely not in the way they imagined. If we’re being honest with each other — and I hope we are — this is probably one of the three records I’m most looking forward to in 2021. The other is Yawning Sons and I’m leaving an open space for later. So yeah, it’s gonna be good.

The esteemed Karl Daniel Lidén produced, and the art deco-style cover is by Lowrider’s Peder Bergstrand (who also took the photo above and made the video below), so Greenleaf are keeping noble company as ever. I’ve already started putting together interview questions to bug guitarist Tommi Holappa with when the time comes. Can’t wait.

Preorders are up, video’s at the bottom here. Dig:

GREENLEAF Announce New Album Echoes From A Mass Out March 26, 2021 via Napalm Records

Pre-Order HERE: https://www.napalmrecordsamerica.com/greenleaf

Listen/Watch the New Single + Music Video “Tides”!

2021 is destined for heaviness: Sweden’s finest stoner rock four-piece GREENLEAF have just announced their upcoming full-length, Echoes From A Mass, out March 26 via Napalm Records! The successor to their 2018 epic, Hear The Rivers, is poised to disperse their renowned sludgy energy to all disciples of the genre.

Once again, GREENLEAF have combined all of the finest stoner metal ingredients for their forthcoming offering – impacting with a prog and psychedelic-laced punch that accents the Swedes’ already motile sonic firmament. Heavy desert riffs, sprawling drums, captivating melodies and grooving rhythms make their new record an absolute must-listen.

Their first single, “Tides”, and its intense official music video, immediately draw the listener into a swirl of guitar driven soundscapes, while Arvid Hällagård’s remarkable voice merges with hypnotizing background vocals, ceremonially inviting the listener into a heavy reverie.

GREENLEAF on the new album:
“2020 was a shitty year for sure but there was at least a little bit of light in the darkness, Echoes From A Mass was written and recorded! This is an album that we are extremely proud of and we hope you will like it as much as we do.”

Once again, GREENLEAF prove that they dare to think outside the box and deliver a heavy roller comprised of Sebastian Olsson’s rumbling drumming performance, fuzzy guitars, Fröhlich’s haunting bass lines, Arvid Hällagård’s powerful yet ghoulish vocals and undeniable heavy stoner, southern desert and blues vibes. Echoes From A Mass was recorded at Studio Gröndahl in October 2020 by former band member Karl Daniel Lidén, who also mixed and mastered the record at Tri-Lamb Studios. Lidén is recognized for his work with well-known acts such as Katatonia, Bloodbath, Lowrider and Crippled Black Phoenix, to name a few.

Echoes From A Mass Tracklisting:
01. Tides
02. Good God I Better Run Away
03. Needle in My Eye
04. Love Undone
05. Bury Me My Son
06. A Hand of Might
07. March on Higher Grounds
08. Hang On
09. On Wings of Gold
10. What Have We Become

Echoes From A Mass will be available in the following formats:
– 1 CD Digipak
– 1 LP Gatefold Vinyl Black
– 1 LP Gatefold Vinyl Cream/Black
– 1 CD Digipak + Patch Bundle
– 1 CD Digipak + Shirt Bundle

Line-up:
Arvid Hällagård: Vocals
Tommi Holappa: Guitar
Hans Fröhlich: Bass
Sebastian Olsson: Drums

www.facebook.com/greenleafrocks
https://www.instagram.com/greenleafband/
www.napalmrecords.com
www.facebook.com/napalmrecords
http://www.soundofliberation.com/greenleaf

Greenleaf, “Tides” official video

Philadelphia hard fuzz trio Heavy Temple have signed to Magnetic Eye Records to issue what’s being billed as their debut full-length this summer. The band took part last year in the Mutants of the Monster virtual festival and made summer groove by covering Funkadelic on a split with Wolf Blood (discussed here) that served as the follow-up to 2016’s Chassit EP (review here) as the group, led by founding bassist/vocalist High Priestess Nighthawk, proceeded to roll through multiple lineup changes. 2020 was to have found Heavy Temple featuring on a number of fests, from the Psycho Smokeout to New England Stoner and Doom to Monolith on the Mesa to Descendants of Crom, but then of course 2020 happened.

Nighthawk and Heavy Temple nonetheless took part in the various artists compilation Women of Doom (review here) with the highlight cut “Astral Hand,” taking on a more classic doom style for the song and adding intrigue for what the group’s full-length debut — to call it “awaited” is putting it lightly — might see them manifest.

A summer 2021 release is expected for the yet-untitled offering, as Magnetic Eye made sure to note while making the announcement via the social medias.

I was grateful to be tagged in the following post, and I’ll hope to have more on the record soon:

MAGNETIC EYE RECORDS – HEAVY TEMPLE

MASSIVE SIGNING NEWS

Magnetic Eye is unutterably stoked to announce that brain-melting doom/groove trio HEAVY TEMPLE have joined the roster! The Philadelphia three-piece, who made their mark with a slew festival slots at Psycho Las Vegas, Black Flags Over Brooklyn, The Obelisk All-Dayer, Decibel Metal and Beer, Maryland Doom Fest and DesertFest New York, and tours with COC, Ruby the Hatchet, Royal Thunder and Mothership, are preparing to release their first official full-length this summer.

Welcome to the titanic Heavy Temple, and get ready to have your minds blown by what this powerhouse outfit has coming!

https://www.facebook.com/HeavyTemple/
https://www.instagram.com/heavytemple
https://heavytemple.bandcamp.com
http://store.merhq.com
http://magneticeyerecords.com/
https://www.facebook.com/MagneticEyeRecords

Feb. 26 is the release date for Holy Monitor‘s third album, Southern Lights, through Blackspin Records/Primitive Music, and the offering brings eight songs of engaging, calmer-than-you-are heavy psychedelic warmth as the Athenian five-piece engage touches of proggy keys and rhythms amid a bed of languid fuzz. They hypnotize immediately with “River” and though “Naked in the Rain,” which follows, is a little more uptempo, the spacious vibe is prevalent and resonant in kind, and that continues throughout the rest of Southern Lights that follows; tonal presence and rhythmic motion seeking not to crush or overwhelm, but more to accompany the listener on an outward-directed journey.

Patient and fluid, each half of the manageable 39-minute LP opens with its longest track — side B’s rousing “The Sky is Falling Down” is the longest song at 7:37 — and as much as Southern Lights feels like it’s moving toward space, it’s hard to ignore the watery themes set by “River,” “Naked in the Rain,” “Blue Whale,” and the closing pair “Ocean Trail” and “Under the Sea.” For a band who issued This Desert Land as an EP last year, they would seem to be changing it up in terms of setting. So be it. Accompanied by the cosmic “Hourglass” and the title-track, Holy Monitor offer a richness malleable to any number of elements.

You can dive into the track at the bottom of this post. I didn’t mean for this to turn into an album review, but I guess that happens sometimes. In any case, “Naked in the Rain” represents it well, so hopefully you dig it too.

Info follows:

Holy Monitor – Southern Lights

‘Naked in the Rain’ is inspired by the traditional music of Epirus and the Bacchanalian frenzied rites. Holy Monitor’s wild, intoxicating psychedelic groove vibes triggered by elaborately carved soundscapes take listeners into hedonistic, mad dance to exorcise the rain and revolt against reality. This Bacchic ritual to the sun symbolizes the human need to rebirth, the ecstatic loss of self, a provocative critique of conformity.

Athens’ quintet, Holy Monitor will release their eagerly awaited third album ‘Southern Lights’ on 26 February 2021 on Blackspin/Primitive Music, an astonishing and affecting follow up to their 2020 critically acclaimed EP release, ‘This Desert Land’.

Holy Monitor is a music collective blending space rock with repeatable psyched riffs & beats and ambient sensibility. The band originates from Athens, Greece and founded in the summer of 2015 by guitarist Stefanos Mitsis and singer/guitarist George Nikas, as a studio project. After recording and releasing “Golden Light” and “Aeolus” EP’s, the band was joined by Alex Bolpasis (bass), Vangelis Mitsis (keyboards) and Dimitris Doumouliakas (drums) and started performing live as a five-piece. Their self-titled album was released in 2017 by Blackspin Records/Primitive Music.

Blending motorik kraut rhythms, hypnotic vocals and sticky guitar riffs, the band creates an environment of cosmic-space feelings, leading the audience into a bright sonic swirl of psychedelic oscillations. Their sophomore album “II” was released in 2018 by Blackspin Records/Primitive Music. Applying new elements of frenzy psychedelia and classy motorik riffs succeed to build a symmetric kraut pattern surrounded from unstoppable groovy vibes.

Tracklist:
1. River
2. Naked In The Rain
3. Blue Whale
4. Southern Lights
5. The Sky Is Falling Down
6. Hourglass
7. Ocean Trail
8. Under The Sea

Holy Monitor is:
George Nikas: Vocals, Guitars
Stefanos Mitsis: Guitars
Alex Bolpasis: Bass
Vangelis Mitsis: Keys
Dimitris Doumouliakas: Drums

https://www.facebook.com/holymonitor/
https://www.instagram.com/holymonitor/
https://open.spotify.com/artist/40sQBIpuOUdXrZ8EZNbiif
https://holymonitor.bandcamp.com/
https://www.facebook.com/blackspin.gr
https://www.blackspin.gr/
https://www.facebook.com/PrimitiveMusicGr/
https://primitivemusic.gr/

Holy Monitor, “Naked in the Rain” official track premiere

This Friday, Jan. 29, Linz, Austria’s Swanmay will release the three-songer Live Session EP. It is a follow-up to 2017’s debut long-player, Stoner Circus (review here), and as the title hints, they recorded it live, audio and video. The clip, which runs 17:33 total, finds the three-piece playing facing the camera as though on a stage, in an attic-looking room with fabric on the wall, a Tibetan flag on one side, tapestry behind, a setlist on the other, some soft lights and a not-necessarily-minor fortune’s worth of amplifiers and cabinets behind them. Spelled out in tape behind guitarist/vocalist Patrick Àlvaro — joined by bassist/backing vocalist Chri Zao and drummer Niklas Lueger — is the word “ciao,” with an upside-down star on the cab underneath. Ciao indeed, gentlemen.

The idea behind Live Session is to bridge between the first Swanmay album four years ago and the second to come sometime later in 2021. The first record is represented by “Lake on Fire,” which closes out this short set, while the prior “Stone Cold” and “Old Trails” are new. The opener rolls out at an immediately fluid pace, a midtempo push that picks up as the chorus departs from the verse, warmth abounding in the fuzzy guitar and bass tones. Live though it is, Live Session is nonetheless well mixed, and though one gets a sense of how the band might sound on stage with the brooding vocals and desert-style crash, it doesn’t sound as raw as the prospect of band-videoing-themselves-in-what-might-be-their-rehearsal-space implies. “Old Trails” is shorter, with more initial tension in the lead riff, and moves toward a righteously heavy payoff — dig that bass — in its second half, giving hints all the while of airier notions of guitar before the sudden stop leads Swanmay to the familiar “Lake on Fire” from the first LP.

You know, the band did actually play the Austrian festival, Lake on Fire, in 2017, after the record came out, and the song’s lyrics could easily be read as a theme for that event, which takes place outdoors and sets up a stage over the water lakeside at Waldhausen im Strudengau — making, if nothing else, for a slew of idyllic pictures and videos. It’s a catchy hook either way and serves well to wrap the set here with a nod toward better times for those who know what they’re talking about. Which, if it didn’t before, includes you now, so right on.

Whatever the release plan for Swanmay‘s sophomore outing might be, it’s yet to be announced, but they lock in a groove for Live Session and don’t let it go, and the varying sides they show in the two new songs bode well for what’s coming whenever it might actually show up. Band rockin’? That’s good enough for me, let’s do it.

Clip follows here. Enjoy:

Swanmay, Live Session Official Video Premiere

SWANMAY is back, ready to set your ears on fire again!

Since releasing their critically acclaimed full length STONER CIRCUS in 2017, SWANMAY kept themselves busy, playing festivals and shows all over Europe. After a few (virus-related) months of silence, the fuzzheads are back in a new formation, with a new record in tow.

To shorten the waiting time for the new album, they recorded a live-session in their doomy rehearsal room containing three songs, two of them brand new.

Stay tuned for the release later this year!

Tracklisting:
1. Stone Cold
2. Old Trails
3. Lake On Fire

all songs written & played by Swanmay
recorded & mastered by Dario Köstinger & Mastered by DK
mixed by Niklas Lueger
filmed by Fabi Krenn

Swanmay on Thee Facebooks

Swanmay on Instagram

Swanmay on Bandcamp

Swanmay website

Gothenburg, Sweden’s Monolord released their two-songer single I’m Staying Home on Jan. 14, pairing the title-track with a live version of “Bastard Son” recorded at Freak Valley Festival in 2019. A couple days ago, the band posted a minute-long clip of them in the studio — literally just a riff — as they started working on their fifth full-length.

The thing about Monolord is this: Monolord is no accident. From their 2013 debut, Empress Rising (discussed here), through an immediate barrage of tours, from releasing through RidingEasy to signing to Relapse ahead of 2019’s album of the year, No Comfort (review here), the band has been focused and working according to a plan. And the plan has largely worked, as you can hear in the influence Monolord have had, their own sonic progression, and the fact that across four records in six years they’ve made themselves indispensable among the post-social media generation of heavy. Whether you’re a fan or not, their impact is undeniable.

So what happens when the mother of all wrenches gets thrown in the gears of Monolord-in-progress? On the precipice of recording their fifth album — and for the first time in his own recently-acquired Berserk Studio — I talked with drummer Esben Willems about what it’s been like for the past year as the best laid plans have largely evaporated. He, guitarist/vocalist Thomas V. Jäger (who released a solo album last year on RidingEasy) and bassist Mika Häkki have by now begun the process of getting sounds and working on the album, but the chance to talk about writing, putting together the studio, working remotely with other bands to mix and master releases — not to mention just the weirdness of having something positive like buying a studio happen while the world is falling apart — was much appreciated. His choice in t-shirt, as ever, was fitting.

I don’t know what the rest of 2021 will bring for Monolord beyond, presumably, the fifth album release (summer? fall?), but with the single out, the teaser clip, and work begun, I was grateful for the opportunity to chat and you’ll find the video below.

Please enjoy:

Monolord Interview with Esben Willems, Jan. 20, 2021

Monolord‘s I’m Staying Home single is out through Relapse Records now and can be streamed here:

Monolord, I’m Staying Home b/w Bastard Son (2021)

Monolord, Fifth Album Teaser

Monolord on Thee Facebooks

Monolord on Instagram

Monolord on Bandcamp

Relapse Records website

Relapse Records on Thee Facebooks

I know it’s not what you’re supposed to say, but I like that first Karma to Burn record (discussed here) with the singer Roadrunner made them get. I also like them instrumental, so take that for what you will. And I know these are demos, but they sound pretty rad too. You’ll recognize the riffing of “Ten” even in the has-vocals form it arrives in the crunchy “Soylent Green Eyes.” This is early KTB stuff, but the ’95 demo songs that open are clean and clear and full, and even the Jim Davison stuff is cool to hear. It’s different. It’s different than you think of hearing Karma to Burn, but for fans who might not’ve been in the room circa 1994, it makes an interesting listen.

Karma to Burn have grappled one way or the other with having/not having a singer for over 25 years. Somehow, founding guitarist Will Mecum has always struck me as a fighter.

To the PR wire:

KARMA TO BURN – THEE RABBIT HOLE (H42 RECORDS)

For most people the earliest enduring image engrained in their minds from instrumental luminaries Karma to Burn is that of a porcelain statue of a girl on a motorcycle. That was the iconic cover of the debut album released on Roadrunner Records in 1997.

The self-titled record featured singer Jason Jarosz was hired under pressure from the record but shortly thereafter, the band separated from singer to go fully instrumental.

However, before Roadrunner Records – Jason Jarosz was not the first singer for Karma to Burn. The band were pursuing vocals and ideas recorded songs with singer Jim Davison. The three tracks that were recorded in Kentucky and had long been a mystery whether or not they even existed. After 27 years in the vault of guitarist Will Mecum and original drummer Nathan Limbaugh they are finally published in full on the new album Thee Rabbit Hole.

Before then in 1993 Karma to Burn recorded their first demo recordings in West Virginia with the original and classic line-up William Mecum, Nathan Limbaugh and Rich Mullins. The 4 tracks of the demo, which were released as demo tape in 1995, can now also be heard for the first time on vinyl on full on the new album Thee Rabbit Hole.

The entire demo recordings from the early days of Karma to Burn have been remastered from the original masters and will be released on H42 Records on APRIL 2nd 2021 / Presale start FEB 25th 2021. The original graphic designs have been updated and upgraded by long term collaborator Alexander von Wieding.

This release has been remastered by John McBain (Desert Sessions, Monster Magnet) and is presented as a deluxe inside out printed gatefold sleeve with two sided Poster, 1994 Promotion Photo and tarot card with three different color formats – white, clear and traditional black on 12” vinyl!

https://www.facebook.com/karmatoburnofficial/
https://www.instagram.com/karmatoburnofficial/
https://k2burn.net/
https://www.facebook.com/H42Records/
https://www.instagram.com/j.b.h42records
https://www.h42records.com

Karma to Burn, Live at Rock in Bourlon 2018

Noise and doom converge throughout Deadly Algorithm, the awaited full-length debut from Finnish atmospheric crushers Gangrened. The follow-up to their 2014 EP, We Are Nothing (review here), is set to issue on April 9 through an entire squadron of record labels, among them Trepanation Records and Odio Sonoro, and though art and a tracklisting don’t appear here, you can check out copious descriptive info on the record below. If you’d like me to save you the trouble, it is fucking massive and fucking heavy. Yes, the lyrics are in Finnish. Rest assured, they get the point across in any language.

April 9 is the release date, and since audio is starting to come out from the record, I assume preorders will begin in short order through one or 50 of the imprints involved. Keep an eye on the ol’ social media and hope, somewhat ironically, that the algorithm lets you find the information with ease.

The band sent this through the PR wire:

GANGRENED releases “Deadly Algorithm” on 9th April through different labels across Europe

Gangrened returns with their first full length finally after a hiatus that started precisely right after a bunch of dates around Finland with Bongzilla in 2015. The process of composing and recording has been extremely long but this circumstance unexpectedly has contributed to extend the palette of sounds included in the album to an extend that it became the rendering of a wide 20+ years musical background into the record showing a more restless creative flow than the average in these genres. Making it, this way, an album that is deeper than ever before and goes beyond the genres the band fitted just right in in previous releases. This is not a straight up sludge record, not at all. heaviness is there, but in many ways and along genres like noise rock, drone, noise no-wave, psyched out sounds or even ambient, converging through the record. The album process was finalized (mixed and mastered) by Tom Brooke (Oranssi Pazuzu, Hebosagil, Throat) in summer of 2020 at Tonehaven studios close to Jyväskylä in Finland.

“Deadly Algorithm” kicks off with “Harrbåda” as a quiet intro, where chords as beautiful as dark are dropped through the song. Then comes “Triptaani”, with its kind of Unsane-ish mean riffing blending heavyness and noise rock at the beginning of the song to end really atmospheric, intense and filthy at same time. “Hologrammi” is an old song from first Gangrened´s release that deserved to be taken back and get the right studio treatment. Next is “Kuningatar”, after an epic intro definitely goes into an acid trip through heaviness, darkness and psyched out and noisy sounds. Last is “Triangeli”, with its heavy repetitive and obsessive bass line/riff, and maybe the most eclectic song of the album, heaviness gets into noise-no wave territory with a bass synth under, for ending the song, and the album, fading into pure ambient sounds.

Vocals deserve a separate mention, all lyrics are in Finnish and the output of putting a vampire-like goth musical background to work on the vocals for this record has been extremely interesting and creative, do not expect dry regular growling cause there is no much of that, better expect for example, to hear things like how a really raw vocal line can have a a little bit hip-hop oriented and be laid down over a obsessive heavy riffing, like happens in “Triangeli” or the really mind bending sounding vocals in the middle part of “Kuningatar”, for example.

“Deadly Algorithm” title, cover and concept verses about a subject that was used in the previous release “We are nothing”. how the world economic elites manipulate mass population. In this case, sneaking up, orienting the development of new technologies like algorithms of artificial intelligence for massive data and attention extraction. Persuasive technology to keep users as long as possible connected. Unfortunately, in the rising attention extraction digital economy, and data extraction also, that the new technologies are at the right moment immersed in, a human is worth more when we are depressed, outraged, polarized, and addicted. Parallel to this, is growing a massive surveillance by governments and big companies with the purpose of basically implement what seemed a dystopia till a little while ago: Living in the “1984” novel of George Orwell, or even worse. . . “If you’re not paying for the product, you are the product”.

“Deadly Algorithm” is coming out the next 9th April in one single LP through the following labels: Violence In The Veins (Spain), Kohina Records (Finland) Odio Sonoro (Spain), Burial Records (Spain), Domestic System (Spain), Noizeland Records (Spain) and Quebranta Records (Spain). The CD edition will come out through Trepanation records from U.K.

LPs will be black (200 copies) and transparent (100 copies), CDs will be a 6 pannels digipack (50 copies). Soon we will publish info about pre-orders.

https://www.facebook.com/Gangrened
https://www.instagram.com/gangrened_band/
https://gangrened.bandcamp.com/
http://www.gangrened.org/
https://www.facebook.com/violenceintheveins/
https://www.facebook.com/kohinarecords/
https://www.facebook.com/Odio-Sonoro-255423944500267/
https://www.facebook.com/Burial-Records-100574988598784/
https://www.facebook.com/domestic.system.01/
https://www.facebook.com/NoizelandRecords/
https://www.facebook.com/QuebrantaRecords/
https://www.facebook.com/TrepRec/

Gangrened, Deadly Algorithm (2021)

Gangrened, We are Nothing (2014)