Split LP Review: Cloud Catcher & Tricoma, Royal Flush Sessions Vol. 1

Posted in Reviews on November 19th, 2020 by JJ Koczan

Cloud Catcher Tricoma Royal Flush Sessions vol 1

It was a noteworthy bummer in when Denver-based boogieblasters Cloud Catcher announced they were calling it quits. Even as they left, however, they both toured and released an EP called The Whip (discussed here), and with that offering explored some different and harder-edged textures from classic metal amidst all the frenetic shuffle carried over from their how’s-that-spelled-again 2016 sophomore LP, Trails of Kosmic Dust (review here), which came out on Totem Cat Records. The band at the time was comprised of guitarist/vocalist Rory Rummings, bassist Scott Schulman and drummer Jared Handman, and as Cloud Catcher make a return with a live-recorded split release with sludge rocking fellow Denverites Tricoma, they do so with an entirely revamped rhythm section.

Doing so leaves Rummings as the sole remaining original member of Cloud Catcher and the perceived spearhead of the band, but as Royal Flush Sessions Vol. 1 plainly demonstrates, there’s been no dip in focus on the part of the band for the year and a half they were essentially defunct. Instead, they sound as they are: refreshed. And the plot is no less thickened than the riffs, as while Rummings has brought aboard bassist Matt Ross and drummer Will Trafas, he’s also joined Tricoma — whose self-titled debut LP came out in April, because timing — on guitar. Ross and Trafas also play in Tricoma, alongside vocalist Devin Trotter, guitarist Riley Rukavina, and now Rummings. So what you have on Royal Flush Sessions Vol. 1 are two bands, Cloud Catcher and Tricoma, the first of which is three-fifths of the other.

Got all that? Take a second if you need to.

One assumes that one band playing in the next made it somewhat easier for the two acts to lug their gear to the base of Hahn’s Peak in Clark, Colorado, to record the seven-song/35-minute entirety of Royal Flush Sessions Vol. 1 live in an outdoor setting. With follow-up mixing by Ben McLeod (All Them Witches) and mastering by Mikey Allred (All Them WitchesAcross Tundras, etc.), the two groups offer a respective glimpse at who they are in the raw, with Cloud Catcher dominating the runtime with 24 minutes of material, 10 of which is dedicated to the jammed-out “Beyond the Electric Sun,” and Tricoma‘s three inclusions comprising the remainder. The tipped balance does little to dull the impact of Tricoma‘s arrival, however, since once their “God and Man” begins, it’s as though the five-piece are willfully snapping the listener out of the hypnosis Cloud Catcher cast.

That moment is essential to Royal Flush Sessions Vol. 1 — when “Beyond the Electric Sun” turns into “God and Man.” Make no mistake, both bands aim for scorch and both certainly get there, but it’s how that’s done that defines the release. Cloud Catcher veer more toward the heavy rock side of their sound even while nodding at the NWOBHM on “Magician’s Chariot,” swirling echo vocals behind Rummings‘ clean verses establishing the space in which the first of the band’s many barn-burner solos will take place. Trafas and Ross are tight and dynamic as one would expect an experienced rhythm section to be on import, and though the snare sound comes through tinny, its punctuation in “Boundless Journey” still establishes the nuance of Trafas‘ playing. “Wield the Blade” is maddening in its turns as Rummings‘ riffs dare the listener to keep up, twists and turns and shred conjured in head-spinning fashion like the returning hallmark of their sound that they are.

tricoma

“Beyond the Electric Sun,” prefaced with a quick bassline from Ross, is slower and groovier at the outset and the centerpiece of the tracklisting on the whole. Cloud Catcher‘s portion of the split would still be longer than Tricoma‘s without it, but the balance would of course be much closer. It is, however, not a jam to be left out. By the time it’s two and a half minutes into its run, it’s left the verses behind and embarked on the outward journey, which will take it through psychedelia and boogie alike before hitting the throttle one last time and shoving onward to its finish, bringing about the aforementioned shift as Tricoma‘s harsher, more biting sludge rock takes the fore, the first scream from Devin Trotter a piercing snap to reality such as it is.

As “God and Man” and the following two cuts, “Knife Fight” and “Worthy of Obedience” play out, Trotter‘s style of blown-out throatrippers could just as easily be sourced to black metal as the Weedeater/Bongzilla school of sludge — at a certain point, lo-fi screaming is lo-fi screaming — but the blend of that harshness with Rukavina and Rummings‘ rolling fuzz, chug on “Knife Fight” and downright playful lead work on “Worthy of Obedience” put the band squarely in a weedian aesthetic place. Stoner crust? Maybe. They wouldn’t be the first. However one might be tempted to categorize them, Tricoma‘s onslaught — though brief — is an effective step away from Cloud Catcher‘s dizzying guitar-led array, since even though the vocals are nasty, nasty nasty, the instrumental progressions behind them are fluid and more accessible.

Go figure. Two bands. Same people. One blisters fingers, one puts nodules on vocal cords. Both rip.

They may vary in terms of aesthetic, but what Cloud Catcher and Tricoma share in addition to personnel, at least as regards Royal Flush Sessions Vol. 1, is the energy inherent in recording live. The feel throughout the release is more live-in-studio than live-on-stage, but in sound and vibe it’s live just the same, and that serves as the bridge as “Beyond the Electric Sun” crosses into “God and Man.” Whatever the future might hold for either or both bands, if Cloud Catcher will continue on as-is or simply be folded into Tricoma, or splinter off, or not, or anything, rest assured I have no idea. Will there even be a Royal Flush Sessions Vol. 2? Who knows. But for a surprise return from the former and a welcome showing from the latter, the split asks remarkably little of anyone taking it on except perhaps to be bowled over, and it makes that fun in the process. Sounds like it was a good time in the making, and is accordingly a good time in the listening.

Cloud Catcher & Tricoma, Royal Flush Sessions Vol. 1 (2020)

Cloud Catcher on Instagram

Cloud Catcher on Bandcamp

Tricoma on Thee Facebooks

Tricoma on Instagram

Tricoma on Bandcamp

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Video Interview: Kelly Schilling of BleakHeart

Posted in Bootleg Theater, Features on November 18th, 2020 by JJ Koczan

bleakheart (Photo by Sarah Hoster)

Denver heavy introspectionists BleakHeart released their debut album, Dream Griever, last month on Colorado’s own Sailor Records. With five component tracks, the four-piece’s offering boasts a dynamic residing largely between heavy post-rock and doom, but there’s melodic resonance as well that stems from an all-deep-hued psychedelia, and even as the material touches on atmospheres reminiscent of Black Math Horseman or other tonally weighted ‘gazers, it brings a depth of sound and fluidity of craft that serves well to distinguish throughout. Founded by guitarist JP Damron (Vermin Womb) and with a lineup built around himself and vocalist/keyboardist Kelly Schilling (also Dreadnought) that includes guitarist Mark Chronister and drummer Josh Kauffman, the group bring a full-fledged sense of aesthetic to the long-player, replete with the patience necessary to construct such ambience and the underlying force of rhythm and melody to immerse the listener within its sprawl.

From the breathy, gradual unfurling of “Ash Bearer” into the emergent crush and later airiness of “Heed the Haunt” as Dream Griever cuts its river’s path toward and throughbleakheart dream griever the consuming heft of “The Visitor”‘s reaches and “The Dead Moon”‘s suitably mournful peel en route to the 11-minute finale title-track, the album remains united in feel and hue without being redundant in sound. Changes in volume are executed with a marked poise, and though tempos stay largely consistent — one almost expects blastbeats to break out on even the slowest records these days — BleakHeart don’t sacrifice the mood built up in order to proffer cheap catharsis. Even when “Dream Griever” unveils its final movement, righteously heavy and topped with synth that seems to hint toward a progressive future to come, the band are able to restrain themselves from undercutting what they’ve worked hard to establish.

In the interview that follows, Schilling discusses recording Dream Griever as the US was preparing to enter lockdown (the first one) for the COVID-19 pandemic, using the space within the songs as a means to explore new ideas in melody and approach — she talks about “belting it out,” and for an example, see “Heed the Haunt” circa 2:25 — as well as learning to function as a band in a socially-distant context, the possibility of ever playing live again, where she thinks BleakHeart might go sound-wise, the status of the next album from Dreadnought, and more. I couldn’t resist either asking about Schilling‘s taking part as a guest for SubRosa‘s ‘SubDued’ set (review here), what with it having been such an incredible and evidently once in a lifetime event to witness.

BleakHeart, Dream Griever Interview with Kelly Schilling, Nov. 16, 2020

Dream Griever was recorded, mixed and mastered by Pete DeBoer at World Famous Studios in Colorado, has cover art by Brian D’Agosta of Gostworks Art and is out now on Sailor Records. Full album stream follows here:

BleakHeart, Dream Griever (2020)

BleakHeart on Thee Facebooks

BleakHeart on Instagram

BleakHeart on Bandcamp

Sailor Records website

Sailor Records on Bandcamp

Sailor Records on Thee Facebooks

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Shepherd Set Nov. 20 Release for First Hand EP; Streaming “Chariot”

Posted in Whathaveyou on November 2nd, 2020 by JJ Koczan

shepherd

Not to be confused with the defunct German doomers of the same name that featured Exile on Mainstream‘s Andreas Kohl in their ranks, Denver, Colorado’s Shepherd are gearing up to issue their debut EP, First Hand, from which they’re currently streaming the second track, “Chariot.” The song itself is encouragingly plodding and melodic, and I’ll admit I was listening for shades of Colorado’s Khemmis in Shepherd‘s delivery — debatable whether there were any to be had, but I guess it would be anyhow. I haven’t heard the full EP yet, but considering the track is five and a half minutes long and it’s one of six included, they might be inadvertently about to put out their first full-length one way or the other.

Curious to see. Shepherd have a few other tracks on their Bandcamp and five and a half minutes is on the longer end, so maybe First Hand will still end up on the shorter end. Either way, that part about “encouraging” still applies to “Chariot.” Let that be the takeaway. The song is of course streaming at the bottom of this post.

Info from the PR wire:

shepherd first hand

SHEPHERD New Single “Chariot” Out + Streaming Now

Debut EP ‘First Hand’ out Nov. 20th on Destruent Records

Denver-based Doom rock band SHEPHERD are gearing up for the release of their debut studio EP, ‘First Hand’, which is out November 20th on Destruent Records. Fans can get their first taste of the upcoming record by checking out the band’s new single “Chariot”, which is out now and available on the major streaming platforms. Shepherd’s lineup consists of Holden Sims (vocals/bass), Austin Garrett (guitar/backing vox), and Nathan Bilodeau (drums), with the three-piece drawing inspiration from alt-metal pioneers like Deftones, Mastodon, and Torche, along with elements of outlaw country and folkloric chanting. The end result is something that’s sonically engrossing, unrepentantly loud, and bound to take hold of listeners and not let go.

SHEPHERD’s debut EP, ‘First Hand’ , is available for pre-order via the group’s Bandcamp. Produced, Mixed and Mastered by Ben Romsdahl at Juggernaut Audio

SHEPHERD – ‘First Hand’ Tracklist
1. Sea Cave
2. Chariot
3. Wendigo
4. Vestigial
5. Persephone
6. The West

Shepherd are:
Holden Sims (bass/vocals)
Austin Garrett (guitar/vocals)
Nate Bilodeau (drums)

https://www.facebook.com/shepherdband19
https://www.instagram.com/shepherd.band/
https://shepherd19.bandcamp.com/
http://destruentrecords.com/
https://destruentrecords.bandcamp.com/

Shepherd, First Hand (2020)

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Love Gang Premiere “Dead Man’s Game” Video; New Album Coming in 2021

Posted in Bootleg Theater on October 30th, 2020 by JJ Koczan

love gang dead mans game

Well, the poker game doesn’t work out all that well for Love Gang, but the cliffside flute is pretty ace. The video for the opening title-track of the Denver four-piece’s debut album, Dead Man’s Game (review here), has a visual grit to match the classic crunch in its guitar and organ, and somewhere between Motörhead‘s surge, Radio Moscow‘s blues, Deep Purple‘s winding proto-prog and Tull‘s embrace of the woodwind section, you get four minutes of brash heavy gallop, propulsive, catchy and freewheeling in the sense of having a badass van with curtains and magic sunglasses that make them see everything in shades of orange and brown.

I gotta give respect to Love Gang for lugging their gear up what looks like the hillside where Kirk fought the Gorn (it’s not; that was Vasquez Rocks in CA, duh), and particularly in that regard to Leo Muñoz, who not only takes that flute solo, but brought his organ along as well and jams out with the rest of the band, guitarist/vocalist Kameron Wentworth, bassist Grady O’Donnell and drummer Shaun GoodwinDead Man’s Game took a more forward, proto-metallic charge than the band’s 2016 self-titled EP (review here), but those elements were still there in songs like “Don’t Trust a Snake” and the jammy closer “Endless Road,” while early cut “Heavy Metal Thunder” backed “Dead Man’s Game” and preceded “Wasted Again” as an electric and scene-setting opening salvo.

Oh yeah, and between those two ends there’s a bunch of asskickery too. Love Gang will reportedly hit the studio early next year, which tells me they’ve got a bunch of new material close to if not ready to roll out. Given the force with which Dead Man’s Game — and indeed, the song “Dead Man’s Game” — is delivered, I wonder how not being able to play live for the bulk of 2020 will affect those songs, as well as how they might expand on the rather significant aesthetic statement they made with the debut. Something to look forward to, basically.

And in the meantime, the stream of Dead Man’s Game is that the bottom of this post and you can check out the premiere of the “Dead Man’s Game” video below, which rules. It just rules. You’re not going to regret spending four minutes watching it.

Enjoy:

Love Gang, “Dead Man’s Game” official video premiere

“Dead Man’s Game” was filmed in Southern Colorado by Javier Armendariz and looks like something out of a western B-movie with all the classic tropes of gunslingers, saloons, whiskey and poker games gone awry. The video was edited by Cristian Vega and harkens back to old Beat-Club videos with plenty of psychedelic imagery flashing behind as the band rips along at full tilt.

THE BAND: Love Gang is a 4-piece heavy rock n’ roll group from Denver, Colorado, USA. Their sound is rock ‘n roll at its’ core with bits of psychedelia thrown in for good measure. Propelled by wailing guitars and overdriven organ, Love Gang holds nothing back, each song going full-speed ahead full of blues boogie and hard-hitting rock ‘n roll. The band was formed in late 2015 with Kam Wentworth on guitar/vocals, Grady O’Donnell on bass guitar, Leo Muñoz on organ/flute, and Shaun Goodwin on drums. Following a 10-show tour supporting Wolfmother in 2018, Love Gang self-released their debut LP ‘Dead Man’s Game’ in October 2019 under the moniker Colfax Records. They will be recording their second full-length album in early 2021.

Love Gang are:
Kam Wentworth – Guitar, Vocals
Leo Muñoz – Organ, Flute, Saxophone
Grady O’Donnell – Bass Guitar
Shaun Goodwin – Drums

Love Gang, Dead Man’s Game (2019)

Love Gang on Thee Facebooks

Love Gang on Instagram

Love Gang on Bandcamp

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Stone Deaf Post “Polaroid” Video from New Album Killers

Posted in Whathaveyou on September 17th, 2020 by JJ Koczan

Colorado heavy rockers Stone Deaf are currently taking Bandcamp preorders for their third long-player, Killers. I don’t know the exact release date of the album, but the preorder package comes with a t-shirt, and there’s little I’m hearing in the new single “Polaroid” that wouldn’t make me want to wear one. The band issued their second album, Royal Burnout (review here), in 2018 and have hooked up with Golden Robot Records for the new one. They’ll have a hand in the release as well through their own Coffin and Bolt Records imprint, so one way or the other, whenever it happens, the new record is happening. “Late 2020,” to quote the PR wire.

In the meantime, “Polaroid” is the first song to be unveiled from the record and it’s got a head-turner of a hook in the post-Songs for the Deaf vein of desert rock. It’s on all the streaming whatnot — I guess that’s super-easy to do now with Distrokid? I’ve never tried — but you can see the video below via the YouTubes, which somehow feels oldschool posting. Life is bizarre.

The PR wire has more. On the music, not really life in general:

stone deaf

STONE DEAF RELEASE NEW SINGLE AND VIDEO ‘POLAROID’

Stream/buy Polaroid HERE: https://smarturl.it/StoneDeaf-Polaroid

Colorado’s Stone Deaf have today released their new single and video Polaroid off their upcoming album Killers.

Crafting a sound that encompasses desert rock, laced with a stoner rock vibe and a subtle U.S. punk edge, Stone Deaf produce a unique fusion of sonic goodness.

Put that shoe horn down cause those boots are stayin’ on and scootin’ over to the dance floor for Stone Deaf’s latest toe-tapper. With more hooks than Tyson, Polaroid is an auditory strip tease you can’t turn away from.

Formed in late 2014 in New Castle, Colorado, Stone Deaf’s approach to music is a timeless fusion of melody and driving rhythms blending the rock vibes of The Hellacopters and Queens of The Stone Age with the sludgy thickness of Kyuss along with the punk sensibility of TSOL and Agent Orange, changing gears between chugging riffs, punk rhythms and laid back moments of unadulterated heaviness. With three releases under their belt, Self-Titled (Black Bow Records), Royal Burnout & The Bobby Peru EP (Coffin & Bolt Records), the band is poised to release their third full-length, ((Killers)) on their own label Coffin & Bolt Records in late 2020.

https://www.facebook.com/StoneDeafColorado/
https://www.instagram.com/stonedeafband/
https://stone-deaf.bandcamp.com/
http://stone-deaf.com/
https://www.facebook.com/goldenrobotrecords/
https://www.instagram.com/goldenrobotrecords/
https://goldenrobotrecords.com/

Stone Deaf, “Polaroid” official video

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BleakHeart to Release Debut Album Dream Griever on Oct. 23

Posted in Whathaveyou on September 7th, 2020 by JJ Koczan

bleakheart (Photo by Sarah Hoster)

The news about BleakHeart‘s debut full-length, Dream Griever, came through the other day, but believe me when I tell that it’s only now that I sit down to write about it that I understand the wordplay involved. To spare you, “griever” as opposed to “weaver.” Seriously. Actual earth days it took me to put that together. I’d like to tell myself I wasn’t thinking about it the whole time, and I wasn’t, but you know, neither did I immediately snap to.

And if you were looking for a little slice of what my life is like, that’s an instance in which I was just embarrassed, by myself, to myself, over nothing. There you go. Ready for some morose doomgaze? Shit yeah I am. Check out BleakHeart‘s “The Visitor,” the eight-minute unfolding of which is rife with not-debut-style patience that makes me wonder just how much crawl there is across Dream Griever‘s span. The vocals of Dreadnought‘s Kelly Schilling are a draw, but “The Visitor” is immersive in its entire atmospheric impression, as I would expect a significant portion of the record to be. They do it well here.

Info came down the PR wire thusly:

bleakheart dream griever

Denver doomgaze unit BLEAKHEART will release their stunning debut full-length, Dream Griever, October 23rd.

A haunting eclipse of sorrow and desire, BLEAKHEART weaves their longing psychedelia into a crushing mass of melancholic wonder. Drawing influences from indie rock, shoegaze, psych rock, doom metal, and goth/darkwave, the collective manifests an emotionally lush atmosphere of rich guitars, haunting synths, and dynamic vocals.

BLEAKHEART was initially the solo project of JP Damron (Vermin Womb, In The Company Of Serpents) who soon recruited friend Kelly Schilling (Dreadnought) to contribute her voice to the venture. Following the release of their first demo, the dreamy-dreary duo was joined by Mark Chronister and Josh Kauffman to fully realize their distinct downtrodden, mournful resonance.

By juxtaposing somber, low-fi, guitar-driven soundscapes with shimmering, ethereal vocals and keys, Dream Griever seeks to reflect on the absurdity of the human condition. “The album explores the patterns of destruction and turmoil created within ourselves, and the time we lose within those fleeting cycles,” says Schilling. Through anger, deception, loss, and wanting, Dream Griever presents a vulnerable and beautiful atmosphere of introspection around the pitfalls of human experience. “The record goes to all of those places – the acknowledgement, the attempted escape, and the inevitable missteps into the depths of our own machinations.”

Dream Griever was produced, recorded, mixed, and mastered by Pete DeBoer (Blood Incantation, Dreadnought) at World Famous Studios in February/March 2020 and comes swathed in the art of Brian D’Agosta (Gostworks Art). In advance of the record’s official unveiling, the band is pleased to release first single “The Visitor” commenting of the stunning hymn, “‘The Visitor’ paints the atmosphere of our ephemeral reality and the anguish felt from repeating our past mistakes.”

BLEAKHEART’s Dream Griever will see release independently on CD, cassette, and digitally with Sailor Records handling the vinyl edition. For preorders, visit the band’s Bandcamp page at THIS LOCATION.

Dream Griever Track Listing:
1. Ash Bearer
2. Heed The Haunt
3. The Visitor
4. The Dead Moon
5. Dream Griever

JP Damron – Guitars
Mark Chronister – Guitars
Josh Kauffman – Drums
Kelly Schilling – Vocals, Keys

http://facebook.com/bleakheartband
https://www.instagram.com/bleakheartband/
https://bleakheart.bandcamp.com/

BleakHeart, Dream Griever (2020)

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Palehorse/Palerider & Lord Buffalo: Legends of the Desert Vol. 1 Split out Aug. 21

Posted in Whathaveyou on July 29th, 2020 by JJ Koczan

Okay, so when I originally posted about Desert Records starting its Legends of the Desert series of splits with Palehorse/Palerider and Lord Buffalo, it was set to release in June. And — get this — it was going to coincide with LIVE SHOWS! Can you imagine living in that world? Well, just about everyone else on the planet is starting to imagine things like that (sorry, Brazil), but apparently an essential component of all things modern Americana is being fucked over unless you’re impossibly wealthy, so here we are. Legends of the Desert Vol. 1 — which rules, by the way — is out Aug. 21, and if you’re holding your breath for live shows, well, I hope you have something soft to land on when you pass out.

Desert Records notes below that the series will run seven LPs over the course of three years. That seems smart to me. Two or three a year max, and it’s probably planned out well in advance. Of course, anyone currently alive knows that plans can change — and these already have if you’re going by release dates — but we can see here Desert Records operating in the spirit of Ripple Music‘s The Second Coming of Heavy, if more specific in its mission.

More on that below, courtesy of the PR wire:

palehorse palerider lord buffalo legends of the desert vol 1

LEGENDS OF THE DESERT Vol. 1 Featuring Palehorse/Palerider & Lord Buffalo Drops August 21st

Desert Records is excited to announce this new compilation series. Spanning seven albums total over the course of three years, the series will include legendary Desert Rock bands (to be announced) mixed in with new and upcoming bands.

“This is the soundtrack to the New West. The focus of the Legends of the Desert is to provide a modern perspective to the antiquated ‘Wild West’ we have etched in our brains. These songs and tales are not told by the same ol’ perspective of the white male Cowboy. These are narratives told by those who never got their stories heard. We will hear from musicians, artists, Natives, outlaws, desert rats, desert dwellers, cactuses and mesas, ravens and roadrunners, snakes and endless skies. Fuck John Wayne, Fuck his lame racist ass, and Fuck the horse he rode in on. This is Legends of the Desert.”

-Brad Frye
Owner/Operator
Desert Records

Pre-orders for Legends of the Desert Vol. 1 on limited edition vinyl, CD and digital are located at:
https://desertrecords.bandcamp.com/album/legends-of-the-desert-volume-1-palehorse-palerider-lord-buffalo

desertrecords.bandcamp.com/
https://palehorsepalerider1.bandcamp.com/
https://lord-buffalo.bandcamp.com/

https://www.facebook.com/palehorse.palerider.denver/
https://www.instagram.com/palehorsepalerider/
https://www.facebook.com/lord.buffalo.band/
https://www.instagram.com/lordbuffalo/
https://www.facebook.com/desertrecordslabel/
https://desertrecords.bandcamp.com/
https://desertrecords.bigcartel.com/

Palehorse/Palerider & Lord Buffalo, Legends of the Desert Vol. 1 (2020)

Lord Buffalo, Tohu Wa Bohu (2020)

Palehorse/Palerider, Fire Gone Out/Haxan (2019)

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Primitive Man to Release Immersion Aug. 14; “The Lifer” Video Posted

Posted in Whathaveyou on June 18th, 2020 by JJ Koczan

I don’t honestly believe you give a royal fuck about anything I might have to say about Primitive Man‘s ultra-dense, ultra-aggressive, ultra-punishing noise doom, so let me not waste your time or mine.

It’s a little ironic though that as they unveil “The Lifer,” which purports to deal with the challenges of being a band who tours as hard as Primitive Man do, it comes at a time when owing to conditions outside themselves and their realm of control, they pretty much can’t tour. Either way, the harshness suits.

The album is called Immersion and it’s got six tracks on it and “The Lifer” opens and it’s out Aug. 14 on Relapse. There, that’s all I’ll say.

Details from the PR wire:

primitive man immersion

PRIMITIVE MAN To Release Third Full-Length Immersion August 14th Via Relapse Records; “The Lifer” Now Streaming + Preorders Available

PRIMITIVE MAN returns after three years with the extreme, terrifying, and confrontational new album, Immersion, set for release August 14th via Relapse Records.

True to the band’s ethos, every moment of Immersion is overwhelming; from the sonic pummeling of the album opener “The Lifer” to the brooding, unnerving guitars whirring throughout “Entity,” Immersion builds and builds. The tension throughout the record is palpable. Hair raising tracks such as “Menacing” push and pull constantly, shifting from passages of harsh doom to an endless corridor of horrid screaming, blast beats, and a formidable low end.

Adding to the album’s darkness, a pervasive lyrical anxiety erodes throughout the record. A stark look at a mirror, Immersion’s themes tackle sobering views on existential crises, a general distrust among another, and the current state of the world. Frontman Ethan McCarthy elaborates, “Souring your view on your existence and everything you had worked towards… allowing yourself to become possessed by the darkest parts of your mind that you have carried around your entire life and not dealt with.”

True to these dark times, PRIMITIVE MAN’s Immersion is an introspective look into ruin and undoing. As McCarthy explains, Immersion dives into the point of no return. “Now you’re a grown man and you’re fucked.”

In advance of the release of Immersion, PRIMITIVE MAN shares “The Lifer.” McCarthy comments, “‘The Lifer’ is about being cursed with and unable to shed the desire to create. The lack of financial security that comes with that. It is also about the ever present on-the-road psychosis touring musicians get as well as the enemies you meet along the way.”

Immersion will be released on CD, LP, cassette, and digital formats via Relapse. Physical preorders are available HERE. For digital downloads and streaming services go HERE.

Immersion Track Listing:
1. The Lifer
2. Entity
3. Menacing
4. ?
5. Foul
6. Consumption

PRIMITIVE MAN:
Ethan Lee McCarthy – guitars, vocals
Jonathan Campos – bass
Joe Linden – drums

http://www.primitivemandoom.com
http://www.facebook.com/primitivemandoom
http://www.relapse.com
http://www.relapserecords.bandcamp.com
http://www.facebook.com/RelapseRecords

Primitive Man, “The Lifer” official video

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