Mellowdeath Premiere “Omacore”; Self-Titled Debut LP Out Nov. 14
Mellowdeath make their self-titled debut on Nov. 14. The Berlin and Bielefeld-based two-piece of drummer Sara Neidorf (Sarattma, ex-Aptera, Soporose, Hypnodrone Ensemble, Mad Kate | The Tide, etc.) and bassist/xylosynthist Isabel Merten (No Chronicles) are and are very much intended to be on their own wavelength, but they’re not out there in the far reaches of experimental doomjazz on their own, literally and I suppose figuratively as well. The release — Mellowdeath‘s Mellowdeath, comprised of 10 songs in 38 minutes — exists in two versions. The one coming out Nov. 14 has a slew of guests. Matt Hollenberg (the ‘ttma’ portion of Sarattma, also Cleric and others) adds riffy punch on guitar in “Atemlos,” while “Omacore” (premiering below) welcomes singer-songwriter/multidisciplinary artist Rachel Glassberg‘s synth and the cello of Jackie Perez-Gratz (Grayceon, Brume, Giant Squid, et al) to the fold with a sound that takes off about a minute in from the slow-bop bounce set by Merten and Neidorf, emblematic of what’s at root in all the songs and what ultimately ties them together.
Which brings us to the second version of Mellowdeath to be released before the end of the year, which is the just-Merten/Neidorf duo version. I haven’t heard that edition as of this post, but “Metal Country” here seems to be the only song without anybody ‘outside’ sitting in, and no shortage of crunch, and the band still use the space in the Steve Roche mix of Jan Oberg‘s recording to conjure reaches open or full. That this impression is intact on the all-in Mellowdeath says something about the strength of the foundation in the first place, which allows “Wermut” to become an alt-timeline version of urbane psychedelia, Glassberg again adding synth atop the quick bursts of double-kick before the post-midpoint sweep introduces the next movement. Perhaps the most resonant vibe — actually, in terms of the listening experience; the raw hearing of the thing — is restlessness. There is a creative exploration happening between Neidorf and Merten throughout this material, and while certainly 
the atmosphere would change without the synthesizer, guitar, cello, trombone, Icelandic thereminist Hekla Magnusdottir‘s spot on closer “Trotziges,” and so on, the drums and the melodic rhythmkeeping of Merten‘s bass and xylosynth — which sounds like what you think it sounds like — of course remain pivotal aspects in defining the persona.
And as to that, the character of a given song is naturally also subject to who’s on board and why. The penultimate “Verhallt” leans into surf rock with Marco Bianciardi on guitar, while the same trio foster a noisier, denser distortion on “Verfolgungsjagd” just a couple songs earlier. Anywhere they go, weirdness pervades, be it the skronk of “1772” or the metallojazz of “Krankenstation,” with Florian Juncker providing a follow-up to the trombone on opener “Demon Slither.” The songs are heavy but no more beholden to a traditional definition of that than they are to genre lines, and as much as Mellowdeath commune with various styles, that same restlessness that drives them in the first place assures that anywhere they actually dwell (as much as they do) even for a time on the record is a space of their own. This wouldn’t be the first time I’ve likened a Neidorf-included project to Stinking Lizaveta, and I’ll say with much respect to a form on which I’m no expert that what she and Merten build atop that influence comes across as successful in manifesting its individuality. That might be part of the goal, but it’s not the whole thing either, as “Atemlos” demonstrates a tension in its rhythm only to pay it off with a heavy dose of riffing from Hollenberg.
Themed around aging and the physical toll of playing in a band, “Omacore” is the first single from Mellowdeath and represents the album well in encapsulating ideas both severe and playful instrumentally and expanding around the rolling groove at its heart. It is more immediately accessible than some of the fare on the record — with its engrossing nod, swaggering midsection, second-half space rocking and payoff shove somehow translating in-context to “accessible” — but if you have the specific kind of brain that doomjazz aligns with (and no, not everyone does), Merten and Neidorf bring depth to the form that speaks to a conscious, intentional drive toward distinction. “Omacore” is three minutes long and you could very easily spend the rest of your day picking it apart to figure out just what’s happening at any given second. Sounds like a killer day, actually. I hope that’s how it pans out for you.
A quote from Neidorf (thank you kindly) follows the premiere of “Omacore” below, with further particulars after that from the PR wire. And if you want to see how it all actually happens, there’s a live session video — it includes “Omacore” starting at 8:57 — down near the bottom that also rules.
Please enjoy:
Sara Neidorf on “Omacore”:
“Omacore” (granny-core) is an anthem to our own aging bodies and our desire to keep playing music, even when we’re old and decrepit. It was a big theme for Isabel and me as we were writing this album, as evidenced by other song titles like “Krankenstation” (hospital ward), written when I had a broken foot and she had a thyroid disorder that was messing with her whole system. It’s about a sort of forward motion and spunk even when the body is struggling or dealing with chronic dysfunction, particularly in relation to playing and writing music. Life can be a rickety and wonky ride, but we’re prepared to limp or use our walkers to get where we need to go. The single is being released on September 18th, which is the birthday of my grandma Mo, a tough and hilarious lady who died in 2023 at the age of 95. This song is for all current and future hags.
Mellowdeath (Berlin/Bielefeld, DE) plays nightmare jazz—an eerie cinematic soundscape, a haunted circus intercut with a David Lynch western—equal parts menace and mischief. Mellowdeath is Sara Neidorf (Sarattma, Mad Kate | The Tide, ex-Brian Jonestown Massacre) on drums and Isabel Merten (No Chronicles) on bass.
In 2018, they released their debut EP, Deadly Stares. And in 2025, they will release their new album—twice!—first as self-titled album (forthcoming November 14th) with special appearances from guest musicians (on synths, trombone, theremin, and more), and then later stripped down, released as Bare Bones, reflecting the band’s usual duo setup of bass and drums.
Mellowdeath sends listeners through a ghost surf cyclone, a haunted hay ride through unsettling, yet hypnotic grooves and doom-twang dirges fit for a clown’s funeral. Mellowdeath was recorded by Jan Oberg at Hidden Planet Studios in Berlin. It was mixed and mastered by Steve Roche at Permanent Hearing Damage Studios in Philadelphia.
Tracklisting with guests:
1. Demon Slither – ft. Rachel Glassberg on synths, Florian Juncker on trombone
2. Omacore – ft. Rachel Glassberg on synths, Jackie Perez Gratz on cello
3. Krankenstation – ft. Florian Juncker on trombone
4. 1772 – ft. Marco Bianciardi on guitar
5. Atemlos – ft. Matt Hollenberg on guitar
6. Wermut – ft. Rachel Glassberg on synth
7. Verfolgungsjagd – ft. Marco Bianciardi on guitar
8. Metal Country – ft. Isabel Merten on xylosynth
9. Verhallt – ft. Marco Bianciardi on guitar
10. Trotzig – ft. Hekla Magnusdottir on theremin
Mellowdeath are:
Sara Neidorf – drums
Isabel Merten – bass, xylosynths
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